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Goode was also added to \u003cem>The Good Wife\u003c/em> during Josh Charles’ shocking final episode in the show’s fifth season. In \u003cem>Dept. Q\u003c/em>, Goode leads as a curmudgeonly detective who assembles a team of misfits to solve cold cases. The show is based on a Danish book series and was renewed for a second season. (Available on Netflix)\u003c/p>\n\u003ch2>‘Paradise’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=tCObCpYScdE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13885274/sterling-k-brown-black-actors-have-waited-a-long-time-to-be-fully-recognized\">Sterling K. Brown\u003c/a> stars in this drama as a U.S. Secret Service agent who arrives to work one day and finds the president is dead. It gets crazier from there. The show is part sci-fi, part drama, and definitely a mystery. It’s been renewed for a second season with Shailene Woodley added to the cast so now is a good time to catch up. (Available on Hulu)\u003c/p>\n\u003ch2>‘Love Island USA’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=X2mjJXWvVPs&t=25s\u003c/p>\n\u003cp>Because each season has a new cast, we’ll count the seventh season of \u003cem>Love Island USA\u003c/em> as a new show. Chatter about this one dominated social media and watercooler chatter this summer as it aired five nights a week. The gist: cameras follow a group of single people sequestered at a Fiji villa as they couple up. New connections are consistently in jeopardy as contestants get sent home — by the cast or the viewers who can vote — and new people called bombshells arrive like fresh bait. About halfway through, the men and women are separated for a week of episodes and introduced to a whole new cast. (Available on Peacock)\u003c/p>\n\u003ch2>‘The Pitt’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=ufR_08V38sQ&t=11s\u003c/p>\n\u003cp>Noah Wyle revived his leading man status this year by once again portraying a doctor. This time, he’s not an intern but leads a Pittsburgh trauma center emergency room. \u003cem>The Pitt\u003c/em> won a number of Primetime Emmy Awards this year, including best drama series and an acting and producing win for Wyle. Watch before Season 2 premieres in early January. (Available on HBO Max)\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13973607/tv-review-the-studio-seth-rogen-appletv-catherine-ohara-cranston\">The Studio\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=EIQuE7JGXU8\u003c/p>\n\u003cp>Seth Rogen plays Matt Remick, the newly elevated head of a Hollywood studio. Some critics say the show is too inside baseball about showbiz but if you liked cringey comedies like \u003cem>Curb Your Enthusiasm\u003c/em>, \u003cem>Episodes\u003c/em> or \u003cem>The Comeback\u003c/em>, this one is for you. It also has a great supporting cast including Catherine O’Hara, Ike Barinholtz, Kathryn Hahn and AP Breakthough Entertainer Chase Sui Wonders. It also has real Hollywood players like Ron Howard, Martin Scorsese, and Olivia Wilde playing heightened versions of themselves. Rogen won Emmys for acting, directing, producing and writing on the series. A second season is in the works. (Available on Apple TV)\u003c/p>\n\u003ch2>‘Adolescence’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Wk5OxqtpBR4\u003c/p>\n\u003cp>A teenage boy accused of murder is a disturbing premise, but watching this limited series is like watching great theater or even live music. Why? Each of the four episodes was filmed in a single continuous shot after extensive rehearsals. The show also introduced us to another AP Breakthrough Entertainer, Owen Cooper, who had never had a professional acting job before. Cooper, Stephen Graham and Erin Doherty \u003ca href=\"https://www.kqed.org/arts/13981358/emmy-awards-2025-recap\">all won Emmys\u003c/a> for their performances. (Available on Netflix)\u003c/p>\n\u003ch2>‘The Beast in Me’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=8iNHGKcP0cM\u003c/p>\n\u003cp>Two of today’s best TV actors, Claire Danes and Matthew Rhys, grace the screen together in \u003cem>The Beast in Me\u003c/em>. Danes is a Pulitzer Prize-winning author and Rhys plays a real estate developer suspected in the disappearance of his first wife. Danes’ character has a severe case of writer’s block as she’s working on her second book, so she pivots to writing a biography of Rhys’ character. (Available on Netflix)\u003c/p>\n\u003ch2>‘St. Denis Medical’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=k1NkZGmN1Eg\u003c/p>\n\u003cp>OK, this one debuted in November 2024, but it was so close to the end of the year that let’s just agree to say it was new in 2025. NBC loves a workplace mockumentary series and this one has Wendi McLendon-Covey, Allison Tolman and David Alan Grier as employees at an Oregon hospital. Comedies don’t get much time to hit their stride anymore, and this one deserved its renewal. (Available on Peacock)\u003c/p>\n\u003ch2>‘The Paper’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=c5v4LJJkvUU\u003c/p>\n\u003cp>\u003cem>The Paper\u003c/em> had a tough go as the official spinoff to \u003cem>The Office\u003c/em>. It had its own niche — a mockumentary about the staff of a small, struggling newspaper in Toledo, Ohio, but the ghosts of Dunder Mifflin were hard to ignore. Many viewers went in looking for a new Michael Scott or Dwight Schrute and were disappointed. \u003cem>The Paper\u003c/em> may not have carbon copies of its predecessor’s characters (although accountant Oscar Martinez returns), but it does have running jokes, quirky personalities and is worth a fair shake. If you recall, \u003cem>The Office\u003c/em> wasn’t a hit right away either. A second season is in the works. (Available on Peacock)\u003c/p>\n\u003ch2>‘Forever’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=-JmVnyJ16d4\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This contemporary spin on the controversial Judy Blume novel from 1975 follows a young couple in Los Angeles as they experience first love. Lead actors Lovie Simone and Michael Cooper Jr. both turned in strong performances, as did Karen Pittman. Like most young lovers, the couple’s relationship has highs and lows. A second season is confirmed, so there’s more story to tell. (Available on Netflix)\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’d rather stay in than brave the elements or deal with holiday crowds, it’s a great time to catch up on the year’s standout television shows. A number of titles got people watching and also talking.\u003c/p>\n\u003cp>In no particular order, here are 10 shows that broke out in 2025.\u003c/p>\n\u003ch2>‘Dept. Q’\u003c/h2>\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/72hK6FUmm8o'\n title='//www.youtube.com/embed/72hK6FUmm8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When it comes to his TV credits, Matthew Goode has a history of being a “late add” to TV shows. He swept in to be Mary’s love interest on \u003ca href=\"https://www.kqed.org/pop/tag/downton-abbey\">\u003cem>Downton Abbey\u003c/em>\u003c/a> after the death of Cousin Matthew. He joined \u003ca href=\"https://www.kqed.org/pop/97891/season-2-of-the-crown-is-surprisingly-great\">Season 2 of \u003cem>The Crown\u003c/em>\u003c/a> as Margaret’s husband Antony Armstrong-Jones, known as Earl Snowdon. Goode was also added to \u003cem>The Good Wife\u003c/em> during Josh Charles’ shocking final episode in the show’s fifth season. In \u003cem>Dept. Q\u003c/em>, Goode leads as a curmudgeonly detective who assembles a team of misfits to solve cold cases. The show is based on a Danish book series and was renewed for a second season. (Available on Netflix)\u003c/p>\n\u003ch2>‘Paradise’\u003c/h2>\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/tCObCpYScdE'\n title='//www.youtube.com/embed/tCObCpYScdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13885274/sterling-k-brown-black-actors-have-waited-a-long-time-to-be-fully-recognized\">Sterling K. Brown\u003c/a> stars in this drama as a U.S. Secret Service agent who arrives to work one day and finds the president is dead. It gets crazier from there. The show is part sci-fi, part drama, and definitely a mystery. It’s been renewed for a second season with Shailene Woodley added to the cast so now is a good time to catch up. (Available on Hulu)\u003c/p>\n\u003ch2>‘Love Island USA’\u003c/h2>\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/X2mjJXWvVPs'\n title='//www.youtube.com/embed/X2mjJXWvVPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Because each season has a new cast, we’ll count the seventh season of \u003cem>Love Island USA\u003c/em> as a new show. Chatter about this one dominated social media and watercooler chatter this summer as it aired five nights a week. The gist: cameras follow a group of single people sequestered at a Fiji villa as they couple up. New connections are consistently in jeopardy as contestants get sent home — by the cast or the viewers who can vote — and new people called bombshells arrive like fresh bait. About halfway through, the men and women are separated for a week of episodes and introduced to a whole new cast. (Available on Peacock)\u003c/p>\n\u003ch2>‘The Pitt’\u003c/h2>\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/ufR_08V38sQ'\n title='//www.youtube.com/embed/ufR_08V38sQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Noah Wyle revived his leading man status this year by once again portraying a doctor. This time, he’s not an intern but leads a Pittsburgh trauma center emergency room. \u003cem>The Pitt\u003c/em> won a number of Primetime Emmy Awards this year, including best drama series and an acting and producing win for Wyle. Watch before Season 2 premieres in early January. (Available on HBO Max)\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13973607/tv-review-the-studio-seth-rogen-appletv-catherine-ohara-cranston\">The Studio\u003c/a>’\u003c/h2>\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/EIQuE7JGXU8'\n title='//www.youtube.com/embed/EIQuE7JGXU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Seth Rogen plays Matt Remick, the newly elevated head of a Hollywood studio. Some critics say the show is too inside baseball about showbiz but if you liked cringey comedies like \u003cem>Curb Your Enthusiasm\u003c/em>, \u003cem>Episodes\u003c/em> or \u003cem>The Comeback\u003c/em>, this one is for you. It also has a great supporting cast including Catherine O’Hara, Ike Barinholtz, Kathryn Hahn and AP Breakthough Entertainer Chase Sui Wonders. It also has real Hollywood players like Ron Howard, Martin Scorsese, and Olivia Wilde playing heightened versions of themselves. Rogen won Emmys for acting, directing, producing and writing on the series. A second season is in the works. (Available on Apple TV)\u003c/p>\n\u003ch2>‘Adolescence’\u003c/h2>\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/Wk5OxqtpBR4'\n title='//www.youtube.com/embed/Wk5OxqtpBR4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A teenage boy accused of murder is a disturbing premise, but watching this limited series is like watching great theater or even live music. Why? Each of the four episodes was filmed in a single continuous shot after extensive rehearsals. The show also introduced us to another AP Breakthrough Entertainer, Owen Cooper, who had never had a professional acting job before. Cooper, Stephen Graham and Erin Doherty \u003ca href=\"https://www.kqed.org/arts/13981358/emmy-awards-2025-recap\">all won Emmys\u003c/a> for their performances. (Available on Netflix)\u003c/p>\n\u003ch2>‘The Beast in Me’\u003c/h2>\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/8iNHGKcP0cM'\n title='//www.youtube.com/embed/8iNHGKcP0cM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Two of today’s best TV actors, Claire Danes and Matthew Rhys, grace the screen together in \u003cem>The Beast in Me\u003c/em>. Danes is a Pulitzer Prize-winning author and Rhys plays a real estate developer suspected in the disappearance of his first wife. Danes’ character has a severe case of writer’s block as she’s working on her second book, so she pivots to writing a biography of Rhys’ character. (Available on Netflix)\u003c/p>\n\u003ch2>‘St. Denis Medical’\u003c/h2>\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/k1NkZGmN1Eg'\n title='//www.youtube.com/embed/k1NkZGmN1Eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>OK, this one debuted in November 2024, but it was so close to the end of the year that let’s just agree to say it was new in 2025. NBC loves a workplace mockumentary series and this one has Wendi McLendon-Covey, Allison Tolman and David Alan Grier as employees at an Oregon hospital. Comedies don’t get much time to hit their stride anymore, and this one deserved its renewal. (Available on Peacock)\u003c/p>\n\u003ch2>‘The Paper’\u003c/h2>\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/c5v4LJJkvUU'\n title='//www.youtube.com/embed/c5v4LJJkvUU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Paper\u003c/em> had a tough go as the official spinoff to \u003cem>The Office\u003c/em>. It had its own niche — a mockumentary about the staff of a small, struggling newspaper in Toledo, Ohio, but the ghosts of Dunder Mifflin were hard to ignore. Many viewers went in looking for a new Michael Scott or Dwight Schrute and were disappointed. \u003cem>The Paper\u003c/em> may not have carbon copies of its predecessor’s characters (although accountant Oscar Martinez returns), but it does have running jokes, quirky personalities and is worth a fair shake. If you recall, \u003cem>The Office\u003c/em> wasn’t a hit right away either. A second season is in the works. (Available on Peacock)\u003c/p>\n\u003ch2>‘Forever’\u003c/h2>\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/-JmVnyJ16d4'\n title='//www.youtube.com/embed/-JmVnyJ16d4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This contemporary spin on the controversial Judy Blume novel from 1975 follows a young couple in Los Angeles as they experience first love. Lead actors Lovie Simone and Michael Cooper Jr. both turned in strong performances, as did Karen Pittman. Like most young lovers, the couple’s relationship has highs and lows. A second season is confirmed, so there’s more story to tell. (Available on Netflix)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "king-of-the-hill-season-14-review-streaming-on-hulu-pamela-adlon-mike-judge",
"title": "Hank Hill Highlights the Quirks of Modern Living in New ‘King of the Hill’",
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"headTitle": "Hank Hill Highlights the Quirks of Modern Living in New ‘King of the Hill’ | KQED",
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"content": "\u003cp>Hank Hill is back and he’s the same ol’ Hank Hill, but a lot of things around him have changed.\u003c/p>\n\u003cp>The lovable animated hero of \u003cem>King of the Hill\u003c/em> has returned from a 15-year lull and he isn’t sure what boba tea is, how ridesharing works and is confused by all-gender bathrooms. “What kind of food is poke?” he asks his wife, Peggy.\u003c/p>\n\u003cp>[aside postid='arts_13978313']Hank and Peggy have returned to their hometown of Arlen, Texas — and our TV sets — but a lot has happened over the years and they’re stepping into a world they don’t always recognize.\u003c/p>\n\u003cp>“Hank, have things changed here more than we thought?” Peggy asks, worried, in the first new episode. “Did we make a mistake coming back?”\u003c/p>\n\u003cp>Hulu is definitely hoping not, reuniting many of the same writers and voice cast who turned the propane-loving, beer-sipping Hill into one of TV’s few blue-collar icons. The first 10 episodes hit Hulu on Monday.\u003c/p>\n\u003ch2>A new ‘King of the Hill’ leader\u003c/h2>\n\u003cfigure id=\"attachment_13979490\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Saladin-K.-Patterson.jpg\" alt=\"A smiling Black man wearing casual grey shirt and jeans stands in front of a white wall featuring the 'Variety' magazine logo.\" width=\"2000\" height=\"1389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Saladin-K.-Patterson.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Saladin-K.-Patterson-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Saladin-K.-Patterson-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Saladin-K.-Patterson-1536x1067.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saladin K. Patterson attends Variety’s ‘A Night in the Writers’ Room’ in West Hollywood, 2022. \u003ccite>(Rich Polk/Getty Images for Variety)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saladin K. Patterson, the executive producer and showrunner for the new season 14, hopes the original fans will return to see how Hill copes in the modern day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That’s always key because you want that core fan base to validate what you’ve done because they’re like the gatekeepers in a way,” he says. “So when they sign off and say, ‘OK, they didn’t mess it up, it’s still the same special show,’ I think other people who may be unfamiliar with it, or even on the fence, feel like, ‘OK, well, now we want to like it.’”\u003c/p>\n\u003cp>Viewers will learn that Hank and Peggy have been in Saudi Arabia all this time, where he served as “assistant manager in charge of Arabian propane and Arabian propane accessories.” Their son Bobby, now 21, is the chef of a “down home, German-Asian fusion” restaurant. (Sample dish: Grilled mackerel with a side of mustard pretzel.)\u003c/p>\n\u003cp>[aside postid='arts_13979143']Hank and Peggy have retired and he happily rejoins his line of friends drinking cans of beer in an alley. Boomhauer gives him a hug and Dale has grown even more paranoid, becoming “an election-denier-denier.”\u003c/p>\n\u003cp>Bill has let himself go, staying indoors and living off Amazon deliveries. “I finished Netflix, Hank. Did you know that when you get to the end of Netflix, you get something called ‘a wellness check?’” Viewers in the second episode hear Tom Petty’s “Runnin’ Down a Dream,” a nice nod to the late rocker’s embrace of the show when it first appeared.\u003c/p>\n\u003cp>“The writers have found that balance between the vintage \u003cem>King of the Hill\u003c/em> that we adore and the new — and letting them coexist,” says Pamela Adlon, who voices Bobby.\u003c/p>\n\u003ch2>Same gentle tone\u003c/h2>\n\u003cp>Creators Mike Judge, the mastermind behind \u003cem>Beavis and Butt-Head\u003c/em>, and Greg Daniels, who would go on to co-create \u003cem>The Office\u003c/em>, helped Patterson navigate this world, which they shepherded during its first 13 seasons, airing from 1997 to 2009.\u003c/p>\n\u003cp>The show’s tone maintains its gentle mocking of modern life, from hipsters and their craft ales to bike lanes. Hill at one point shakes his head over modern outdoor grills having sensors and app connections: “I shouldn’t have to call technical support to make a burger.”\u003c/p>\n\u003cp>Patterson says the humor is grounded in real life. “I do have a barbecue grill that is Wi-Fi- and Bluetooth-enabled. I have three devices to run it, but I’m calling tech support because I have guests coming over and the meat needs to be done,” he says. “And I do think over the pandemic, my wife finished Netflix.”\u003c/p>\n\u003cp>[aside postid='arts_13979205']While there are changes, some things are immutable. “Hank’s still going to drink beer. Dale’s still going to be a conspiracy theorist. Bill’s still going to be a lovable sad sack,” says Patterson. “Those core character things had to be the same. I had a pastor who told me one time, ‘Grown folks don’t change.’”\u003c/p>\n\u003cp>Viewers will see in upcoming episodes if Hank — a happy propane seller and garage tinkerer — can really ever retire and watch as Hank’s friends navigate new chapters. They’ll also explore the relationship between an adult Bobby and his parents.\u003c/p>\n\u003cp>“He’s of age now and it’s really kind of cool because you see the similarities and all the attributes that he took from his parents that he wasn’t even aware of when he was a boy — or didn’t want to have anything to do with — and now he’s using them to keep his business going and move himself forward,” says Adlon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GleTI7jDWOs\u003c/p>\n\u003ch2>A politics-free zone\u003c/h2>\n\u003cp>While debates have raged over where Hank Hill sits on the political spectrum, his creators argue he represents a sensible, common-sense middle. He follows the rules and does the best he can without hurting anyone.\u003c/p>\n\u003cp>“It’s so not a Republican or a Democratic show or an independent show. It’s all of that,” says Adlon. “There’s space in the world for everybody. It’s hard for us all to find a safe space in a common area anymore and that’s what this show really is.”\u003c/p>\n\u003cp>[aside postid='arts_13979460']And even though the new \u003cem>King of the Hill\u003c/em> episodes arrive during President Donald Trump’s second term, don’t expect any politics from Hank Hill.\u003c/p>\n\u003cp>“We want to tell relatable stories where people can see themselves in our characters or their family members in our characters,” says Patterson.\u003c/p>\n\u003cp>“There are enough cultural things and relationship things that have shifted to where he can comment on that without us wading into tariffs and immigration policy and stuff like that.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 14 of ‘King of the Hill’ is streaming on Hulu now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hank Hill is back and he’s the same ol’ Hank Hill, but a lot of things around him have changed.\u003c/p>\n\u003cp>The lovable animated hero of \u003cem>King of the Hill\u003c/em> has returned from a 15-year lull and he isn’t sure what boba tea is, how ridesharing works and is confused by all-gender bathrooms. “What kind of food is poke?” he asks his wife, Peggy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hank and Peggy have returned to their hometown of Arlen, Texas — and our TV sets — but a lot has happened over the years and they’re stepping into a world they don’t always recognize.\u003c/p>\n\u003cp>“Hank, have things changed here more than we thought?” Peggy asks, worried, in the first new episode. “Did we make a mistake coming back?”\u003c/p>\n\u003cp>Hulu is definitely hoping not, reuniting many of the same writers and voice cast who turned the propane-loving, beer-sipping Hill into one of TV’s few blue-collar icons. The first 10 episodes hit Hulu on Monday.\u003c/p>\n\u003ch2>A new ‘King of the Hill’ leader\u003c/h2>\n\u003cfigure id=\"attachment_13979490\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Saladin-K.-Patterson.jpg\" alt=\"A smiling Black man wearing casual grey shirt and jeans stands in front of a white wall featuring the 'Variety' magazine logo.\" width=\"2000\" height=\"1389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Saladin-K.-Patterson.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Saladin-K.-Patterson-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Saladin-K.-Patterson-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Saladin-K.-Patterson-1536x1067.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saladin K. Patterson attends Variety’s ‘A Night in the Writers’ Room’ in West Hollywood, 2022. \u003ccite>(Rich Polk/Getty Images for Variety)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saladin K. Patterson, the executive producer and showrunner for the new season 14, hopes the original fans will return to see how Hill copes in the modern day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s always key because you want that core fan base to validate what you’ve done because they’re like the gatekeepers in a way,” he says. “So when they sign off and say, ‘OK, they didn’t mess it up, it’s still the same special show,’ I think other people who may be unfamiliar with it, or even on the fence, feel like, ‘OK, well, now we want to like it.’”\u003c/p>\n\u003cp>Viewers will learn that Hank and Peggy have been in Saudi Arabia all this time, where he served as “assistant manager in charge of Arabian propane and Arabian propane accessories.” Their son Bobby, now 21, is the chef of a “down home, German-Asian fusion” restaurant. (Sample dish: Grilled mackerel with a side of mustard pretzel.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hank and Peggy have retired and he happily rejoins his line of friends drinking cans of beer in an alley. Boomhauer gives him a hug and Dale has grown even more paranoid, becoming “an election-denier-denier.”\u003c/p>\n\u003cp>Bill has let himself go, staying indoors and living off Amazon deliveries. “I finished Netflix, Hank. Did you know that when you get to the end of Netflix, you get something called ‘a wellness check?’” Viewers in the second episode hear Tom Petty’s “Runnin’ Down a Dream,” a nice nod to the late rocker’s embrace of the show when it first appeared.\u003c/p>\n\u003cp>“The writers have found that balance between the vintage \u003cem>King of the Hill\u003c/em> that we adore and the new — and letting them coexist,” says Pamela Adlon, who voices Bobby.\u003c/p>\n\u003ch2>Same gentle tone\u003c/h2>\n\u003cp>Creators Mike Judge, the mastermind behind \u003cem>Beavis and Butt-Head\u003c/em>, and Greg Daniels, who would go on to co-create \u003cem>The Office\u003c/em>, helped Patterson navigate this world, which they shepherded during its first 13 seasons, airing from 1997 to 2009.\u003c/p>\n\u003cp>The show’s tone maintains its gentle mocking of modern life, from hipsters and their craft ales to bike lanes. Hill at one point shakes his head over modern outdoor grills having sensors and app connections: “I shouldn’t have to call technical support to make a burger.”\u003c/p>\n\u003cp>Patterson says the humor is grounded in real life. “I do have a barbecue grill that is Wi-Fi- and Bluetooth-enabled. I have three devices to run it, but I’m calling tech support because I have guests coming over and the meat needs to be done,” he says. “And I do think over the pandemic, my wife finished Netflix.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While there are changes, some things are immutable. “Hank’s still going to drink beer. Dale’s still going to be a conspiracy theorist. Bill’s still going to be a lovable sad sack,” says Patterson. “Those core character things had to be the same. I had a pastor who told me one time, ‘Grown folks don’t change.’”\u003c/p>\n\u003cp>Viewers will see in upcoming episodes if Hank — a happy propane seller and garage tinkerer — can really ever retire and watch as Hank’s friends navigate new chapters. They’ll also explore the relationship between an adult Bobby and his parents.\u003c/p>\n\u003cp>“He’s of age now and it’s really kind of cool because you see the similarities and all the attributes that he took from his parents that he wasn’t even aware of when he was a boy — or didn’t want to have anything to do with — and now he’s using them to keep his business going and move himself forward,” says Adlon.\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/GleTI7jDWOs'\n title='//www.youtube.com/embed/GleTI7jDWOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A politics-free zone\u003c/h2>\n\u003cp>While debates have raged over where Hank Hill sits on the political spectrum, his creators argue he represents a sensible, common-sense middle. He follows the rules and does the best he can without hurting anyone.\u003c/p>\n\u003cp>“It’s so not a Republican or a Democratic show or an independent show. It’s all of that,” says Adlon. “There’s space in the world for everybody. It’s hard for us all to find a safe space in a common area anymore and that’s what this show really is.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And even though the new \u003cem>King of the Hill\u003c/em> episodes arrive during President Donald Trump’s second term, don’t expect any politics from Hank Hill.\u003c/p>\n\u003cp>“We want to tell relatable stories where people can see themselves in our characters or their family members in our characters,” says Patterson.\u003c/p>\n\u003cp>“There are enough cultural things and relationship things that have shifted to where he can comment on that without us wading into tariffs and immigration policy and stuff like that.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 14 of ‘King of the Hill’ is streaming on Hulu now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "handmaids-tale-final-season-details-elisabeth-moss-interview-preview-hulu",
"title": "Praise Be, Loyal ‘Handmaid’s Tale’ Fans: The Final Season Promises Catharsis",
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"headTitle": "Praise Be, Loyal ‘Handmaid’s Tale’ Fans: The Final Season Promises Catharsis | KQED",
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"content": "\u003cp>Not long ago Yvonne Strahovski, who plays beautiful, ruthless, deeply complicated \u003ca href=\"https://www.kqed.org/pop/103806/hindsight-is-20-20-for-the-us-the-uk-and-mrs-waterford-of-handmaids-tale\">Serena\u003c/a> on \u003ca href=\"https://www.kqed.org/pop/tag/the-handmaids-tale\">\u003cem>The Handmaid’s Tale\u003c/em>\u003c/a>, was forced to watch early scenes of her character’s cruelty.\u003c/p>\n\u003cp>Of course, Serena was being cruel to long-suffering heroine June (\u003ca href=\"https://www.kqed.org/arts/13956944/the-veil-fx-hulu-review-elisabeth-moss-spy-thriller-tv-series\">Elisabeth Moss\u003c/a>). It wasn’t a nice experience to relive.\u003c/p>\n\u003cp>“I was dying. I wanted to vomit! It was horrible,” Strahovski said in an interview, of footage played at a panel event. “To go back and look at that was insanely jarring.”\u003c/p>\n\u003cp>To which longtime \u003cem>Handmaid’s\u003c/em> fans would likely reply: Tell us about it, Serena! We’ve gone through hell and back ourselves, for 56 episodes.\u003c/p>\n\u003cp>Rapes. Mass hangings. Shootings. Torture. Kids torn from mothers, tongues from mouths. And more. The searing Hulu drama about a totalitarian state that treats women as property, based on the \u003ca href=\"https://www.kqed.org/arts/tag/margaret-atwood\">Margaret Atwood\u003c/a> novel, may have been brilliant. But the brilliance came from abject darkness.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So praise be, loyal fans: Creators of the show felt your pain. They want you to know that this, the sixth and final season, will be different.\u003c/p>\n\u003cp>It will still be Gilead, to be sure. As Bradley Whitford’s ever-quotable Commander Lawrence would say: “Gilead’s gonna Gilead.” But it will be faster-paced, and more satisfying. There will be catharsis and redemption — rewards for all that fan loyalty.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xBBRUdLBsFI\u003c/p>\n\u003ch2>There may even be … levity?\u003c/h2>\n\u003cp>Yes. Don’t take it from us (though we’ve previewed the first eight episodes). Take it from June herself.\u003c/p>\n\u003cp>Moss, who not only stars but directs four episodes this season, says it was around season 4 or 5 when creators realized they wanted to move away “from too much in-your-face darkness.”\u003c/p>\n\u003cp>Of course, the show’s hardly turned into a sitcom.\u003c/p>\n\u003cp>[aside postid='arts_13963879']“We wouldn’t be \u003cem>The Handmaid’s Tale\u003c/em> if we didn’t have those dark moments,” she says. “It would be dishonest.” But, she says, “We did want to bring in more lightness and levity.”\u003c/p>\n\u003cp>Helpful in that regard: Whitford’s whipsmart characterization of Commander Lawrence, who tosses off memorable one-liners like “Serena, are you suffering from an irony deficiency?”\u003c/p>\n\u003cp>Whitford confirms a reporter’s suspicions that he’d come up with that one himself. “I’ve been telling that joke for years,” he says. “I pitched it … and I’m very proud of it.”\u003c/p>\n\u003ch2>The series will move faster, too\u003c/h2>\n\u003cp>Eric Tuchman, showrunner with Yahlin Chang, recognizes people had started to find the show “a hard watch … and that was honestly a way we as writers were beginning to feel.”\u003c/p>\n\u003cp>So, along with shunning the most extreme cruelty, the show has abandoned what he calls the “more languid pacing” of the past.\u003c/p>\n\u003cp>“We had a lot of stories we wanted to tell in 10 episodes,” Tuchman says. “We wanted the season to have a feeling of momentum and to be propulsive.”\u003c/p>\n\u003cp>Adds Chang: “It was a now-or-never thing — this is the last chance we get to tell these stories with these characters.”\u003c/p>\n\u003cp>We can likely expect fewer endless gazes into June’s tearful eyes. There’s stuff to get done.\u003c/p>\n\u003ch2>It’s decision time: Are you good or evil?\u003c/h2>\n\u003cp>A number of characters have flirted with the other side, morally, in the show — good people doing terrible things, terrible people occasionally doing good. Well, it’s time for everyone to take a stand.\u003c/p>\n\u003cp>“People don’t stay the same,” Moss says. “Someone’s gonna go to the dark side, someone’s gonna go to the light. But … you can’t just plod along, avoiding choosing a side. At a certain point, you have to choose.”\u003c/p>\n\u003cp>[aside postid='arts_13926190']Of course we’ve always known where June stood, as the show’s moral compass — even if many viewers were stunned/perplexed/annoyed each time she returned to Gilead of her own accord.\u003c/p>\n\u003cp>But June’s gonna June, as Lawrence might say.\u003c/p>\n\u003cp>When we left her in season 5, June had just escaped Toronto, where the tide was turning against refugees from Gilead. She boarded a train headed westward, along with baby Nichole. Then she heard another baby’s cry, and it turned out Serena, her former tormentor from Gilead, was there too, with her own baby. “Got a diaper?” Serena asked.\u003c/p>\n\u003cp>While the upshot of this train ride is one of many forbidden spoilers, it’s safe to say June and Serena’s relationship remains … thorny.\u003c/p>\n\u003ch2>Is everyone redeemable — even Lydia?\u003c/h2>\n\u003cp>Strahovski herself isn’t sure Serena is redeemable.\u003c/p>\n\u003cp>“She has softened. She’s made redeemable choices. And if there’s ever going to be a bigger redeemable moment, it may occur this season,” Strahovski teases. But she adds: “I don’t know if any of it is entirely forgivable.”\u003c/p>\n\u003cp>Then there’s Aunt Lydia. The very name strikes terror for those who remember the horrid things she did to those handmaids.\u003c/p>\n\u003cp>But Lydia is already showing signs of change. (She’s also going to be central in an upcoming sequel, \u003cem>The Testaments\u003c/em>, based on a later Atwood novel.)\u003c/p>\n\u003cp>Ann Dowd says it’s all about love — for Janine, her favorite handmaid.\u003c/p>\n\u003cp>“Love changes everything,” Dowd says. “It’s the most powerful thing in the world.”\u003c/p>\n\u003ch2>The ‘Handmaid’s Tale’ actors have changed, too\u003c/h2>\n\u003cp>“This role has really pushed me to corners I never imagined,” Strahovski says. “It’s made me a better actress for it, 100%.”\u003c/p>\n\u003cp>As for Moss, she says her “whole professional life has changed on this show.” Not only as actor, but as director and producer.\u003c/p>\n\u003cp>“For me, that’s been massive,” she says. “I love acting so much, but I did need something more to sink my teeth into … I wanted be more involved in all sides of what we do, and I have learned so much.\u003c/p>\n\u003ch2>Current events have seeped into the script\u003c/h2>\n\u003cp>\u003cem>The Handmaid’s Tale\u003c/em> premiered in 2017, six months before the #MeToo movement erupted. In 2022, Roe v. Wade was overturned.\u003c/p>\n\u003cp>[aside postid='pop_97826']“As a woman, I have fewer rights now than when I started on the show,” says showrunner Chang. “I never thought that we would lose Roe v. Wade, even working on the show … And that does start to get infused into our writing.”\u003c/p>\n\u003cp>Whitford brings up the plight of pregnant rape victims “who do not have access to contraception or abortion care, or the healthcare that they need.”\u003c/p>\n\u003cp>“It’s certainly been in our consciousness,” he says, “It’s a reason why you need a show like this, about resistance.”\u003c/p>\n\u003cp>As for Moss, she prefers to cite the continuing relevance of Atwood’s story, 40 years on.\u003c/p>\n\u003cp>“Of course it had a relevancy that you couldn’t ignore in 2017,” she says. “But I don’t know when this book and this material has ever not been relevant … You look at the show and go, ‘God, are they trying to make that connection?’ No, I think we’re just trying to be honest and tell the story of these people in this place, and it happens to be something that is incredibly relevant and present.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The sixth and final season of ‘The Handmaid’s Tale’ begins streaming on Hulu on April 8, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not long ago Yvonne Strahovski, who plays beautiful, ruthless, deeply complicated \u003ca href=\"https://www.kqed.org/pop/103806/hindsight-is-20-20-for-the-us-the-uk-and-mrs-waterford-of-handmaids-tale\">Serena\u003c/a> on \u003ca href=\"https://www.kqed.org/pop/tag/the-handmaids-tale\">\u003cem>The Handmaid’s Tale\u003c/em>\u003c/a>, was forced to watch early scenes of her character’s cruelty.\u003c/p>\n\u003cp>Of course, Serena was being cruel to long-suffering heroine June (\u003ca href=\"https://www.kqed.org/arts/13956944/the-veil-fx-hulu-review-elisabeth-moss-spy-thriller-tv-series\">Elisabeth Moss\u003c/a>). It wasn’t a nice experience to relive.\u003c/p>\n\u003cp>“I was dying. I wanted to vomit! It was horrible,” Strahovski said in an interview, of footage played at a panel event. “To go back and look at that was insanely jarring.”\u003c/p>\n\u003cp>To which longtime \u003cem>Handmaid’s\u003c/em> fans would likely reply: Tell us about it, Serena! We’ve gone through hell and back ourselves, for 56 episodes.\u003c/p>\n\u003cp>Rapes. Mass hangings. Shootings. Torture. Kids torn from mothers, tongues from mouths. And more. The searing Hulu drama about a totalitarian state that treats women as property, based on the \u003ca href=\"https://www.kqed.org/arts/tag/margaret-atwood\">Margaret Atwood\u003c/a> novel, may have been brilliant. But the brilliance came from abject darkness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So praise be, loyal fans: Creators of the show felt your pain. They want you to know that this, the sixth and final season, will be different.\u003c/p>\n\u003cp>It will still be Gilead, to be sure. As Bradley Whitford’s ever-quotable Commander Lawrence would say: “Gilead’s gonna Gilead.” But it will be faster-paced, and more satisfying. There will be catharsis and redemption — rewards for all that fan loyalty.\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/xBBRUdLBsFI'\n title='//www.youtube.com/embed/xBBRUdLBsFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>There may even be … levity?\u003c/h2>\n\u003cp>Yes. Don’t take it from us (though we’ve previewed the first eight episodes). Take it from June herself.\u003c/p>\n\u003cp>Moss, who not only stars but directs four episodes this season, says it was around season 4 or 5 when creators realized they wanted to move away “from too much in-your-face darkness.”\u003c/p>\n\u003cp>Of course, the show’s hardly turned into a sitcom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We wouldn’t be \u003cem>The Handmaid’s Tale\u003c/em> if we didn’t have those dark moments,” she says. “It would be dishonest.” But, she says, “We did want to bring in more lightness and levity.”\u003c/p>\n\u003cp>Helpful in that regard: Whitford’s whipsmart characterization of Commander Lawrence, who tosses off memorable one-liners like “Serena, are you suffering from an irony deficiency?”\u003c/p>\n\u003cp>Whitford confirms a reporter’s suspicions that he’d come up with that one himself. “I’ve been telling that joke for years,” he says. “I pitched it … and I’m very proud of it.”\u003c/p>\n\u003ch2>The series will move faster, too\u003c/h2>\n\u003cp>Eric Tuchman, showrunner with Yahlin Chang, recognizes people had started to find the show “a hard watch … and that was honestly a way we as writers were beginning to feel.”\u003c/p>\n\u003cp>So, along with shunning the most extreme cruelty, the show has abandoned what he calls the “more languid pacing” of the past.\u003c/p>\n\u003cp>“We had a lot of stories we wanted to tell in 10 episodes,” Tuchman says. “We wanted the season to have a feeling of momentum and to be propulsive.”\u003c/p>\n\u003cp>Adds Chang: “It was a now-or-never thing — this is the last chance we get to tell these stories with these characters.”\u003c/p>\n\u003cp>We can likely expect fewer endless gazes into June’s tearful eyes. There’s stuff to get done.\u003c/p>\n\u003ch2>It’s decision time: Are you good or evil?\u003c/h2>\n\u003cp>A number of characters have flirted with the other side, morally, in the show — good people doing terrible things, terrible people occasionally doing good. Well, it’s time for everyone to take a stand.\u003c/p>\n\u003cp>“People don’t stay the same,” Moss says. “Someone’s gonna go to the dark side, someone’s gonna go to the light. But … you can’t just plod along, avoiding choosing a side. At a certain point, you have to choose.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course we’ve always known where June stood, as the show’s moral compass — even if many viewers were stunned/perplexed/annoyed each time she returned to Gilead of her own accord.\u003c/p>\n\u003cp>But June’s gonna June, as Lawrence might say.\u003c/p>\n\u003cp>When we left her in season 5, June had just escaped Toronto, where the tide was turning against refugees from Gilead. She boarded a train headed westward, along with baby Nichole. Then she heard another baby’s cry, and it turned out Serena, her former tormentor from Gilead, was there too, with her own baby. “Got a diaper?” Serena asked.\u003c/p>\n\u003cp>While the upshot of this train ride is one of many forbidden spoilers, it’s safe to say June and Serena’s relationship remains … thorny.\u003c/p>\n\u003ch2>Is everyone redeemable — even Lydia?\u003c/h2>\n\u003cp>Strahovski herself isn’t sure Serena is redeemable.\u003c/p>\n\u003cp>“She has softened. She’s made redeemable choices. And if there’s ever going to be a bigger redeemable moment, it may occur this season,” Strahovski teases. But she adds: “I don’t know if any of it is entirely forgivable.”\u003c/p>\n\u003cp>Then there’s Aunt Lydia. The very name strikes terror for those who remember the horrid things she did to those handmaids.\u003c/p>\n\u003cp>But Lydia is already showing signs of change. (She’s also going to be central in an upcoming sequel, \u003cem>The Testaments\u003c/em>, based on a later Atwood novel.)\u003c/p>\n\u003cp>Ann Dowd says it’s all about love — for Janine, her favorite handmaid.\u003c/p>\n\u003cp>“Love changes everything,” Dowd says. “It’s the most powerful thing in the world.”\u003c/p>\n\u003ch2>The ‘Handmaid’s Tale’ actors have changed, too\u003c/h2>\n\u003cp>“This role has really pushed me to corners I never imagined,” Strahovski says. “It’s made me a better actress for it, 100%.”\u003c/p>\n\u003cp>As for Moss, she says her “whole professional life has changed on this show.” Not only as actor, but as director and producer.\u003c/p>\n\u003cp>“For me, that’s been massive,” she says. “I love acting so much, but I did need something more to sink my teeth into … I wanted be more involved in all sides of what we do, and I have learned so much.\u003c/p>\n\u003ch2>Current events have seeped into the script\u003c/h2>\n\u003cp>\u003cem>The Handmaid’s Tale\u003c/em> premiered in 2017, six months before the #MeToo movement erupted. In 2022, Roe v. Wade was overturned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“As a woman, I have fewer rights now than when I started on the show,” says showrunner Chang. “I never thought that we would lose Roe v. Wade, even working on the show … And that does start to get infused into our writing.”\u003c/p>\n\u003cp>Whitford brings up the plight of pregnant rape victims “who do not have access to contraception or abortion care, or the healthcare that they need.”\u003c/p>\n\u003cp>“It’s certainly been in our consciousness,” he says, “It’s a reason why you need a show like this, about resistance.”\u003c/p>\n\u003cp>As for Moss, she prefers to cite the continuing relevance of Atwood’s story, 40 years on.\u003c/p>\n\u003cp>“Of course it had a relevancy that you couldn’t ignore in 2017,” she says. “But I don’t know when this book and this material has ever not been relevant … You look at the show and go, ‘God, are they trying to make that connection?’ No, I think we’re just trying to be honest and tell the story of these people in this place, and it happens to be something that is incredibly relevant and present.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>April 19, 2025 marks the 30th anniversary of the Oklahoma City bombing. Timothy McVeigh’s act of terror took the lives of 168 people, including 25 children, who were inside the Alfred P. Murrah Federal Building when McVeigh’s truck bomb detonated outside. A powerful new three-part National Geographic documentary series revisits the tragedy this week, seeking to connect the bombing starkly to the present day.\u003c/p>\n\u003cp>[aside postid='arts_13967651']Unfortunately for the makers of \u003cem>Oklahoma City Bombing: One Day in America\u003c/em>, the series trails behind another impactful documentary on the subject by almost a year. Max’s Katie Couric-produced film, \u003cem>An American Bombing: The Road to April 19th\u003c/em> featured many of the same interviewees who tell their stories once again in \u003cem>Oklahoma City Bombing\u003c/em>. These include former President Bill Clinton, District Fire Chief Mike Shannon and FBI agent Bob Ricks. The families of victims, including brothers Chase and Colton Smith who died at the building’s day care center, and interpreter Julie Welch who was working on the first floor, are also featured in both.\u003c/p>\n\u003cp>While some of the quotes offered during \u003cem>The Road to April 19th\u003c/em> are repeated almost word-for-word in \u003cem>Oklahoma City Bombing\u003c/em>, the new series differs enough to make a viewing worthwhile. \u003cem>The Road to April 19th\u003c/em> focused primarily on the social and economic circumstances that led not just to McVeigh’s actions, but to a move towards extremist ideologies in America’s heartland. \u003ci>Oklahoma City Bombing\u003c/i> takes a much more personal approach and does a far deeper dive into the minute-by-minute events of the day.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0WMymIthVzM\u003c/p>\n\u003cp>One of \u003cem>Oklahoma City Bombing\u003c/em>’s most valuable assets is Mike Shannon. The agony he experienced on April 19 as he made life-and-death decisions for his fire crew, as well as for victims still buried in the rubble, provide tension and an emotional wallop that \u003cem>The Road to April 19th\u003c/em> often lacked. One of the victims trapped in the debris, Amy Downs, also talks with visceral candor about the hours she spent waiting for death in the half-collapsed building. The experience inspired her to transform her life and pursue a path to honor the many coworkers she lost that day. Julie Welch’s father, Bud, also movingly describes how his daughter’s death transformed his life’s purpose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The stories of survivors bring the horror of April 19 to vivid life in \u003cem>Oklahoma City Bombing\u003c/em>. An ATF agent named Luke Franey talks of being trapped on the ninth floor after his office was cut in half by the explosion. Fran Ferrari, a worker from \u003ci>The Journal Record\u003c/i> building across the street, recalls managing to modestly pull her skirt into place even as she was carried, drenched in her own blood, to first responders. One of them, an EMT scrambling to save the lives of small, terrified children, shares her struggle to hold tears back as she worked.\u003c/p>\n\u003cp>One of the most impactful elements of \u003cem>Oklahoma City Bombing\u003c/em> comes in the final episode with the arrival of Stephen Jones, the defense attorney who was assigned (somewhat reluctantly) to Timothy McVeigh’s case. The footage of Jones and McVeigh engaged in pre-trial meetings is chilling; McVeigh appears unperturbed shortly after committing mass murder. Jones says he was disturbed by McVeigh’s calm demeanor.\u003c/p>\n\u003cp>[aside postid='arts_13891175']It is these kinds of personal perspectives that make \u003cem>Oklahoma City Bombing: One Day in America\u003c/em> such a compelling watch. Footage of the subsequent memorial service and the final demolition of the Federal Building close out the story effectively. In the end, \u003cem>Oklahoma City Bombing\u003c/em> ends up being an excellent companion piece to \u003cem>An American Bombing: The Road to April 19th\u003c/em>. Where Max’s documentary was an effective warning about far right extremism and the dangers it still poses to the United States, National Geographic’s effort is a poignant reminder of the human toll of such ideologies.\u003c/p>\n\u003cp>Towards the end of the series’ final episode, Bill Clinton offers a sobering warning about the cost of homegrown extremist ideologies. “We need for people to recognize that our differences are good, healthy, even essential — but only if our common humanity matters more,” he says. “On April 19, Timothy McVeigh showed us what happens when our common humanity doesn’t matter anymore.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oklahoma City Bombing: One Day in America’ premieres on National Geographic on April 2, 2025 at 6 p.m. The series begins streaming on Hulu and Disney+ the following day.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unfortunately for the makers of \u003cem>Oklahoma City Bombing: One Day in America\u003c/em>, the series trails behind another impactful documentary on the subject by almost a year. Max’s Katie Couric-produced film, \u003cem>An American Bombing: The Road to April 19th\u003c/em> featured many of the same interviewees who tell their stories once again in \u003cem>Oklahoma City Bombing\u003c/em>. These include former President Bill Clinton, District Fire Chief Mike Shannon and FBI agent Bob Ricks. The families of victims, including brothers Chase and Colton Smith who died at the building’s day care center, and interpreter Julie Welch who was working on the first floor, are also featured in both.\u003c/p>\n\u003cp>While some of the quotes offered during \u003cem>The Road to April 19th\u003c/em> are repeated almost word-for-word in \u003cem>Oklahoma City Bombing\u003c/em>, the new series differs enough to make a viewing worthwhile. \u003cem>The Road to April 19th\u003c/em> focused primarily on the social and economic circumstances that led not just to McVeigh’s actions, but to a move towards extremist ideologies in America’s heartland. \u003ci>Oklahoma City Bombing\u003c/i> takes a much more personal approach and does a far deeper dive into the minute-by-minute events of the day.\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/0WMymIthVzM'\n title='//www.youtube.com/embed/0WMymIthVzM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of \u003cem>Oklahoma City Bombing\u003c/em>’s most valuable assets is Mike Shannon. The agony he experienced on April 19 as he made life-and-death decisions for his fire crew, as well as for victims still buried in the rubble, provide tension and an emotional wallop that \u003cem>The Road to April 19th\u003c/em> often lacked. One of the victims trapped in the debris, Amy Downs, also talks with visceral candor about the hours she spent waiting for death in the half-collapsed building. The experience inspired her to transform her life and pursue a path to honor the many coworkers she lost that day. Julie Welch’s father, Bud, also movingly describes how his daughter’s death transformed his life’s purpose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The stories of survivors bring the horror of April 19 to vivid life in \u003cem>Oklahoma City Bombing\u003c/em>. An ATF agent named Luke Franey talks of being trapped on the ninth floor after his office was cut in half by the explosion. Fran Ferrari, a worker from \u003ci>The Journal Record\u003c/i> building across the street, recalls managing to modestly pull her skirt into place even as she was carried, drenched in her own blood, to first responders. One of them, an EMT scrambling to save the lives of small, terrified children, shares her struggle to hold tears back as she worked.\u003c/p>\n\u003cp>One of the most impactful elements of \u003cem>Oklahoma City Bombing\u003c/em> comes in the final episode with the arrival of Stephen Jones, the defense attorney who was assigned (somewhat reluctantly) to Timothy McVeigh’s case. The footage of Jones and McVeigh engaged in pre-trial meetings is chilling; McVeigh appears unperturbed shortly after committing mass murder. Jones says he was disturbed by McVeigh’s calm demeanor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is these kinds of personal perspectives that make \u003cem>Oklahoma City Bombing: One Day in America\u003c/em> such a compelling watch. Footage of the subsequent memorial service and the final demolition of the Federal Building close out the story effectively. In the end, \u003cem>Oklahoma City Bombing\u003c/em> ends up being an excellent companion piece to \u003cem>An American Bombing: The Road to April 19th\u003c/em>. Where Max’s documentary was an effective warning about far right extremism and the dangers it still poses to the United States, National Geographic’s effort is a poignant reminder of the human toll of such ideologies.\u003c/p>\n\u003cp>Towards the end of the series’ final episode, Bill Clinton offers a sobering warning about the cost of homegrown extremist ideologies. “We need for people to recognize that our differences are good, healthy, even essential — but only if our common humanity matters more,” he says. “On April 19, Timothy McVeigh showed us what happens when our common humanity doesn’t matter anymore.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oklahoma City Bombing: One Day in America’ premieres on National Geographic on April 2, 2025 at 6 p.m. The series begins streaming on Hulu and Disney+ the following day.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since premiering on Hulu in 2021, \u003cem>Only Murders in the Building\u003c/em> has gotten plenty of Emmy nominations, but hasn’t really gotten its due. Even for the 2024 Emmys, which are handed out later in September, the series was snubbed in the Comedy Series Writing category. Which is a small sin, because co-creators \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and John Hoffman have managed to craft a comedy mystery series in which the laughs are plentiful and the mysteries are plausible and surprising. Pulling off either one of those feats is impressive; nailing them both is indeed Emmy-worthy.\u003c/p>\n\u003cp>[aside postid='arts_13962860']Not that \u003cem>Only Murders\u003c/em> is completely lacking for attention, or awards. The show has won four Emmys to date — though only one for an actor, for guest star Nathan Lane in 2022. But every year, the show finds ways to showcase its regular and guest stars more creatively. And this year, for the first time, all three series leads are nominated.\u003c/p>\n\u003cp>And deservedly so: Martin as former TV detective Charles-Haden Savage, and Martin Short as former Broadway director Oliver Putnam, are both insufferably egotistic and painfully insecure — and sporadically, gleefully hilarious. And \u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Selena Gomez\u003c/a>, as mystery podcasting fan Mabel Mora, is as droll and dry as Short’s Oliver is bubbly and over the top.\u003c/p>\n\u003cp>The new season of \u003cem>Only Murders in the Building\u003c/em> takes this unlikely trio to a new setting — but only temporarily. Because of the success of their previous seasons of crime solving, the three podcasting partners are flown to Hollywood, where a movie executive hopes to buy their life rights and make a movie based on their adventures.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dKyX8rocAB8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie exec is played by Molly Shannon, formerly of \u003cem>Saturday Night Live, \u003c/em>who throws a glitzy party for the new arrivals. At the party, she tries to wow them by introducing them to the actors cast to play their big-screen counterparts.\u003c/p>\n\u003cp>Once the movie is greenlit, Charles, Oliver and Mabel head back to their familiar New York apartment complex, where a recent bullet hole found in the window of Charles’ apartment leads them to suspect he may have been targeted for murder. They also suspect the sniper may have aimed from one of the apartments across their courtyard.\u003c/p>\n\u003cp>Charles studies the behavior of the residents occupying the west tower, then convenes his podcast partners to discuss his suspicions. At this point, \u003cem>Only Murders\u003c/em> becomes the comedy equivalent of \u003cem>Rear Window. \u003c/em>Like James Stewart in that famous\u003ca href=\"https://www.kqed.org/arts/tag/alfred-hitchcock\"> Hitchcock\u003c/a> movie, our heroes expect that evil is afoot across the way. But with these three, the way they go about their voyeuristic inquiry highlights their very distinct, and very funny, personalities.\u003c/p>\n\u003cp>[aside postid='arts_13963546']Both of these Season 4 plots — the movie being made and a new murder in the building — make room for a small commuter plane full of guest stars, all of whom come to play, and show us a great time. And almost all the \u003cem>Only Murders\u003c/em> actors nominated for Emmys this year, in various supporting categories, are back — including Da’Vine Joy Randolph, \u003ca href=\"https://www.kqed.org/pop/tag/paul-rudd\">Paul Rudd\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/meryl-streep\">Meryl Streep\u003c/a>. And Jane Lynch, Melissa McCarthy, Scott Bakula and Richard Kind are here, too.\u003c/p>\n\u003cp>They’re all wonderful. Streep and Rudd, in particular, are doing great work: With their screen time and no-holds-barred performances, they may as well be considered series regulars. The show’s writing is up to their level, and so are the show’s three headliners. When Streep shares intimate or sad or joyous scenes with Short, they all work. This season, there’s a major influx of talent added to \u003cem>Only Murders in the Building\u003c/em> — but the new and returning faces don’t outshine the stars. They shine, and play, right along with them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Only Murders in the Building’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since premiering on Hulu in 2021, \u003cem>Only Murders in the Building\u003c/em> has gotten plenty of Emmy nominations, but hasn’t really gotten its due. Even for the 2024 Emmys, which are handed out later in September, the series was snubbed in the Comedy Series Writing category. Which is a small sin, because co-creators \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and John Hoffman have managed to craft a comedy mystery series in which the laughs are plentiful and the mysteries are plausible and surprising. Pulling off either one of those feats is impressive; nailing them both is indeed Emmy-worthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not that \u003cem>Only Murders\u003c/em> is completely lacking for attention, or awards. The show has won four Emmys to date — though only one for an actor, for guest star Nathan Lane in 2022. But every year, the show finds ways to showcase its regular and guest stars more creatively. And this year, for the first time, all three series leads are nominated.\u003c/p>\n\u003cp>And deservedly so: Martin as former TV detective Charles-Haden Savage, and Martin Short as former Broadway director Oliver Putnam, are both insufferably egotistic and painfully insecure — and sporadically, gleefully hilarious. And \u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Selena Gomez\u003c/a>, as mystery podcasting fan Mabel Mora, is as droll and dry as Short’s Oliver is bubbly and over the top.\u003c/p>\n\u003cp>The new season of \u003cem>Only Murders in the Building\u003c/em> takes this unlikely trio to a new setting — but only temporarily. Because of the success of their previous seasons of crime solving, the three podcasting partners are flown to Hollywood, where a movie executive hopes to buy their life rights and make a movie based on their adventures.\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/dKyX8rocAB8'\n title='//www.youtube.com/embed/dKyX8rocAB8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie exec is played by Molly Shannon, formerly of \u003cem>Saturday Night Live, \u003c/em>who throws a glitzy party for the new arrivals. At the party, she tries to wow them by introducing them to the actors cast to play their big-screen counterparts.\u003c/p>\n\u003cp>Once the movie is greenlit, Charles, Oliver and Mabel head back to their familiar New York apartment complex, where a recent bullet hole found in the window of Charles’ apartment leads them to suspect he may have been targeted for murder. They also suspect the sniper may have aimed from one of the apartments across their courtyard.\u003c/p>\n\u003cp>Charles studies the behavior of the residents occupying the west tower, then convenes his podcast partners to discuss his suspicions. At this point, \u003cem>Only Murders\u003c/em> becomes the comedy equivalent of \u003cem>Rear Window. \u003c/em>Like James Stewart in that famous\u003ca href=\"https://www.kqed.org/arts/tag/alfred-hitchcock\"> Hitchcock\u003c/a> movie, our heroes expect that evil is afoot across the way. But with these three, the way they go about their voyeuristic inquiry highlights their very distinct, and very funny, personalities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both of these Season 4 plots — the movie being made and a new murder in the building — make room for a small commuter plane full of guest stars, all of whom come to play, and show us a great time. And almost all the \u003cem>Only Murders\u003c/em> actors nominated for Emmys this year, in various supporting categories, are back — including Da’Vine Joy Randolph, \u003ca href=\"https://www.kqed.org/pop/tag/paul-rudd\">Paul Rudd\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/meryl-streep\">Meryl Streep\u003c/a>. And Jane Lynch, Melissa McCarthy, Scott Bakula and Richard Kind are here, too.\u003c/p>\n\u003cp>They’re all wonderful. Streep and Rudd, in particular, are doing great work: With their screen time and no-holds-barred performances, they may as well be considered series regulars. The show’s writing is up to their level, and so are the show’s three headliners. When Streep shares intimate or sad or joyous scenes with Short, they all work. This season, there’s a major influx of talent added to \u003cem>Only Murders in the Building\u003c/em> — but the new and returning faces don’t outshine the stars. They shine, and play, right along with them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Only Murders in the Building’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The new Hulu series \u003cem>Queenie\u003c/em> explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.\u003c/p>\n\u003cp>The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.\u003c/p>\n\u003cp>[aside postid='arts_13959601']The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.\u003c/p>\n\u003cp>As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, \u003cem>Queenie \u003c/em>creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wwRwPcm3P4Q\u003c/p>\n\u003ch3>The performances bring the novel to life\u003c/h3>\n\u003cp>As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama \u003cem>Criminal Record\u003c/em>. Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn’t know that other women felt like this. I didn’t know other Black women felt like this.” So throughout taping she used the book “like a Bible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from \u003cem>The Fresh Prince of Bel Air\u003c/em>) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama \u003cem>You Don’t Know Me\u003c/em>, radiates charisma and kindness as Kyazike’s cousin Frank.\u003c/p>\n\u003ch3>The format allows the audience to go deep\u003c/h3>\n\u003cp>The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.\u003c/p>\n\u003cfigure id=\"attachment_13959643\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png\" alt=\"Three Black women stand side by side wearing cool clothes.\" width=\"1898\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1536x866.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Candice Carty-Williams’ ‘Queenie’ stars Dionne Brown and Bellah. \u003ccite>(Ramona Rosales/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn’t want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.”\u003c/p>\n\u003cp>[aside postid='arts_13959205']\u003cem>Queenie\u003c/em> is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.\u003c/p>\n\u003cp>Despite the production’s extensive management structure (Lions Gate, Disney’s Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out — and all the elements work well together.\u003c/p>\n\u003ch3>Some important changes from novel to screen\u003c/h3>\n\u003cp>Still, though faithful to the novel’s quarter-life crisis story, with the book’s most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition — best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.\u003c/p>\n\u003cp>[aside postid='arts_13959163']\u003cem>Queenie’s\u003c/em> original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.\u003c/p>\n\u003cp>When \u003cem>Queenie\u003c/em> debuted it appeared on best seller lists in multiple countries. \u003cem>Queenie\u003c/em> won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.\u003c/p>\n\u003cp>In Britain, where Carty-Williams grew up, \u003cem>Queenie\u003c/em> quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes.\u003c/h2>\n\u003c/blockquote>\n\u003cp>But the book’s popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter — the heft and trauma of the book billed as a Black \u003cem>Bridget Jones Diary \u003c/em>\u003ca href=\"https://www.npr.org/2019/05/30/728278275/queenie-author-candice-carty-williams\">seemed to betray its framing\u003c/a>. While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.\u003c/p>\n\u003cp>Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.\u003c/p>\n\u003cfigure id=\"attachment_13959644\" class=\"wp-caption aligncenter\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png\" alt=\"A book cover depicting a Black woman's ear and braids piles high on her head. Her face is not visible.\" width=\"708\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM-160x249.png 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">‘Queenie’ by Candice Carty-Williams. \u003ccite>(Gallery/Scout Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, \u003cem>Queenie\u003c/em> really is) that would be hard to take in (\u003cem>Luster\u003c/em> comes to mind). But that’s not how the book was positioned.\u003c/p>\n\u003cp>[aside postid='arts_13958131']Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.\u003c/p>\n\u003cp>Instead, the novel \u003cem>Queenie\u003c/em> offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.\u003c/p>\n\u003ch3>Exploring critically important topics in the book and on screen\u003c/h3>\n\u003cp>That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a “strong Black woman,” with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.\u003c/p>\n\u003cfigure id=\"attachment_13959645\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png\" alt=\"Two Black women stand outside at dusk, next to two white women.\" width=\"1752\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1536x896.png 1536w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. \u003ccite>(Latoya Okuneye/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the \u003cem>Queenie\u003c/em> trailer.\u003c/p>\n\u003cp>When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of \u003cem>Queenie\u003c/em>-the-series has a happier ending — giving Queenie more room to grow.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Queenie’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new Hulu series \u003cem>Queenie\u003c/em> explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.\u003c/p>\n\u003cp>The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.\u003c/p>\n\u003cp>As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, \u003cem>Queenie \u003c/em>creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wwRwPcm3P4Q'\n title='//www.youtube.com/embed/wwRwPcm3P4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The performances bring the novel to life\u003c/h3>\n\u003cp>As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama \u003cem>Criminal Record\u003c/em>. Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn’t know that other women felt like this. I didn’t know other Black women felt like this.” So throughout taping she used the book “like a Bible.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from \u003cem>The Fresh Prince of Bel Air\u003c/em>) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama \u003cem>You Don’t Know Me\u003c/em>, radiates charisma and kindness as Kyazike’s cousin Frank.\u003c/p>\n\u003ch3>The format allows the audience to go deep\u003c/h3>\n\u003cp>The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.\u003c/p>\n\u003cfigure id=\"attachment_13959643\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png\" alt=\"Three Black women stand side by side wearing cool clothes.\" width=\"1898\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1536x866.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Candice Carty-Williams’ ‘Queenie’ stars Dionne Brown and Bellah. \u003ccite>(Ramona Rosales/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn’t want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Queenie\u003c/em> is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.\u003c/p>\n\u003cp>Despite the production’s extensive management structure (Lions Gate, Disney’s Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out — and all the elements work well together.\u003c/p>\n\u003ch3>Some important changes from novel to screen\u003c/h3>\n\u003cp>Still, though faithful to the novel’s quarter-life crisis story, with the book’s most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition — best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Queenie’s\u003c/em> original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.\u003c/p>\n\u003cp>When \u003cem>Queenie\u003c/em> debuted it appeared on best seller lists in multiple countries. \u003cem>Queenie\u003c/em> won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.\u003c/p>\n\u003cp>In Britain, where Carty-Williams grew up, \u003cem>Queenie\u003c/em> quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes.\u003c/h2>\n\u003c/blockquote>\n\u003cp>But the book’s popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter — the heft and trauma of the book billed as a Black \u003cem>Bridget Jones Diary \u003c/em>\u003ca href=\"https://www.npr.org/2019/05/30/728278275/queenie-author-candice-carty-williams\">seemed to betray its framing\u003c/a>. While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.\u003c/p>\n\u003cp>Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.\u003c/p>\n\u003cfigure id=\"attachment_13959644\" class=\"wp-caption aligncenter\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png\" alt=\"A book cover depicting a Black woman's ear and braids piles high on her head. Her face is not visible.\" width=\"708\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM-160x249.png 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">‘Queenie’ by Candice Carty-Williams. \u003ccite>(Gallery/Scout Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, \u003cem>Queenie\u003c/em> really is) that would be hard to take in (\u003cem>Luster\u003c/em> comes to mind). But that’s not how the book was positioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.\u003c/p>\n\u003cp>Instead, the novel \u003cem>Queenie\u003c/em> offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.\u003c/p>\n\u003ch3>Exploring critically important topics in the book and on screen\u003c/h3>\n\u003cp>That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a “strong Black woman,” with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.\u003c/p>\n\u003cfigure id=\"attachment_13959645\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png\" alt=\"Two Black women stand outside at dusk, next to two white women.\" width=\"1752\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1536x896.png 1536w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. \u003ccite>(Latoya Okuneye/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the \u003cem>Queenie\u003c/em> trailer.\u003c/p>\n\u003cp>When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of \u003cem>Queenie\u003c/em>-the-series has a happier ending — giving Queenie more room to grow.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queenie’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>He’s 61 now, well-off and trim. He has many accomplishments as an actor but there’s this one thing he finds hard to shake: Back in 1985, he got called something.\u003c/p>\n\u003cp>During the Reagan administration, rising star Andrew McCarthy was lumped into an amorphous group of young actors who were changing Hollywood. They were called the “Brat Pack.”\u003c/p>\n\u003cp>[aside postid='arts_13959577']Now, it’s never nice to be called a “brat” or to lose your individuality to a pack, but McCarthy and the members of this collective — Emilio Estevez, Molly Ringwald, Demi Moore, Ally Sheedy, Judd Nelson, Rob Lowe and maybe Anthony Michael Hall — seemed to implode.\u003c/p>\n\u003cp>“That changed my life,” says McCarthy, who starred in \u003cem>Pretty in Pink\u003c/em> and \u003cem>St. Elmo’s Fire\u003c/em>. After being branded, the so-called bratty actors scattered, not wanting to work together again. The stigma, McCarthy says, was “defining.” He has PTSD, he suggests.\u003c/p>\n\u003cp>Now almost 40 years later, McCarthy hit the road to star in and direct his new Hulu documentary \u003cem>Brats\u003c/em>, trying to get a handle on the label and how some of the pack handled it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>[aside postid='arts_13958881'](Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AUjGATC7tWs\u003c/p>\n\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>[aside postid='arts_13958762']A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>[aside postid='arts_13958101']McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>(Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AUjGATC7tWs'\n title='//www.youtube.com/embed/AUjGATC7tWs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-tv-to-watch-stream-this-summer-2024-hulu-apple-fx-netflix",
"title": "What to Watch This Summer: 18 TV Shows to Look Forward To",
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"headTitle": "What to Watch This Summer: 18 TV Shows to Look Forward To | KQED",
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"content": "\u003cp>It looks like we are in for a \u003ca href=\"https://www.npr.org/2024/05/27/1198912427/summer-2024-forecast-extreme-heat-hurricanes-wildfire\">very hot summer\u003c/a>. If you find yourself stuck inside looking for your next show, our critics can help — they’ve scanned the broadcast and streaming horizons to find the shows you should check out in June, July and August. Take a look:\u003c/p>\n\u003ch2>June\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=WPIcQNMQchQ\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Clipped\u003c/em>, June 4, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>It sounds like a dated \u003cem>Saturday Night Live\u003c/em> parody: a drama on the explosive impact of racist statements by then–Los Angeles Clippers owner Donald Sterling, leaked to the public in 2014. But the elevated cast — Laurence Fishburne as Clippers coach Doc Rivers, Ed O’Neill as Sterling and LeVar Burton as himself — hints at more. Ultimately, \u003ca href=\"https://www.npr.org/2024/05/24/nx-s1-4979750/clipped-review-donald-sterling-scandal-la-clippers-fx-hulu\">the show explores class, race, sports and modern striving\u003c/a> with surprising quality, including a meditation on how Black stars handle rage, which should get its own Emmy Award. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0Hy1q_YIAL4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Fantasmas\u003c/em>, June 7, Max\u003c/strong>\u003c/p>\n\u003cp>Created, written, starring and directed by Julio Torres (\u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">\u003cem>Problemista\u003c/em>\u003c/a>, \u003cem>Los Espookys\u003c/em>), this six-episode comedy series offers a queer (in every sense of the word) perspective on life in NYC. The plot: Torres loses an earring and goes looking for it. The execution: high weirdness, exquisitely wrought, as the loose narrative wanders through the lives of random New Yorkers whom Torres stumbles across on his quest. Smart, funny and scathing when it wants to be, \u003cem>Fantasmas \u003c/em>is bracingly and idiosyncratically itself. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_yUW-bQ3buY\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Queenie\u003c/em>, June 7, Hulu\u003c/strong>\u003c/p>\n\u003cp>There is something magnetic in watching a powerfully awkward protagonist stumble through life — especially Queenie, a 20-something Jamaican British woman caught between life as the daughter of immigrants and a painful breakup with a white boyfriend coddling vaguely racist relatives. Based on a bestselling novel, Hulu’s series offers a deeply revealing urban comedy centered on a strong Black woman in London struggling to process her past so she can build a better future. Like most of us. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZNSY3lMioHs\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Presumed Innocent\u003c/em>, June 12, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Presumed Innocent\u003c/em>, a bestselling legal thriller by Scott Turow, became a Harrison Ford movie in 1990. Now, more than 30 years later, \u003ca href=\"https://www.kqed.org/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good\">Jake Gyllenhaal\u003c/a> steps in to lead a new TV adaptation for Apple. Gyllenhaal plays Rusty Sabich, a lawyer whose obsessive affair with a woman in his office becomes an existential threat to him after she turns up murdered. His mortified wife, played here by Ruth Negga, is forced to face the possibility that he murdered his lover and the fact that he had one. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzFXDvC-EwM\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Boys\u003c/em>, Season 4,\u003c/strong> \u003cstrong>June 13, Prime Video\u003c/strong>\u003c/p>\n\u003cp>This cartoonishly violent and sexualized series — starring corporate-designed superheroes who are secretly psychopaths — evolved over three seasons from jabbing at the Marvel/DC comic industrial complex to satirizing media and MAGA-style conservatism. The new episodes amp up the dynamic, with a new hero who comes off like Lauren Boebert in a cape, supported by a propaganda-filled TV channel and a twisted Superman-like team leader whose detachment from humanity may be the world’s biggest threat. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YN2H_sKcmGw\u003c/p>\n\u003cp>\u003cstrong>\u003cem>House of the Dragon\u003c/em>, Season 2, June 16, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>Yeah, that first season was very uneven. But it did what it had to do, introducing us to the individual chess pieces and carefully arranging them on the sides they’re playing for: Team Black (Rhaenyra and her sweet-natured, albeit illegitimate sons) vs. Team Green (Alicent and her brood of monstrous sociopaths). But with the arrival of Season 2, the war known as the Dance of the Dragons is finally underway, and the whole dang chessboard is about to get engulfed in gouts of fiery breath. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P-1V_dRubUg\u003c/p>\n\u003cp>\u003cstrong>The 77th Tony Awards, June 16, CBS, Paramount+\u003c/strong>\u003c/p>\n\u003cp>Always. Watch. The Tonys. Haven’t taken in any Broadway this year? Doesn’t matter. Where other award shows devolve into pompous self-congratulation, the Tonys broadcast is aimed squarely at us, as we sit on our couches at home. It’s a collective siren song sent out by thousands of professional, desperate, try-hard theater people with one objective: to get us to haul our butts to see a show. As such, it’s painstakingly engineered to entertain and enrapture. Always. Watch. The Tonys. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-QqOkpu9_tg\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Orphan Black: Echoes\u003c/em>, June 23, AMC, AMC+, BBC America\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Jessica Jones\u003c/em> star Krysten Ritter leads another Comic-Con-friendly franchise, a spinoff of Canadian science fiction series \u003cem>Orphan Black\u003c/em>. Ritter is one of several women with missing memories who fear they are the product of a mysterious process wielded by a secretive organization. But don’t worry — it’s set nearly 40 years after the first show’s conclusion, and most viewers won’t need to know much about the mothership series to keep up with this tale of sisterhood, science and runaway progress. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PwFty8yi1cU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>My Lady Jane\u003c/em>, June 27, Prime Video\u003c/strong>\u003c/p>\n\u003cp>A breezy, girlboss alt-history take on Lady Jane Grey, who, in our world, ruled England for nine days before being imprisoned and beheaded as a traitor. In the world of the series — as in the novels it is based on — Jane lives to fight, and frolic, another day. Are there schemes and plots and twists? You betcha. It’s the sort of quippy, performatively quirky show (this version of England is teeming with magical shape-changers) that goes down like an ice-cold Pimm’s cup on a hot summer afternoon. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rUlP-BkJUFs\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Bear\u003c/em>, Season 3, June 27, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>has already put out two exceptional seasons and is so strong now that even when Jeremy Allen White is on the sidelines, the rest of the cast hits home run after home run. As the show returns, Carmy (White) and Sydney (Ayo Edebiri) are opening their new restaurant, and Richie (Ebon Moss-Bachrach) is fresh off some tremendous training in service. It’s not easy to keep churning out season after season that’s absolutely top quality, but if anybody can, it’s this team. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch2>July\u003c/h2>\n\u003cfigure id=\"attachment_13959209\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png\" alt=\"An unhappy-looking woman sits in a large room. People around her sit at scattered tables.\" width=\"1266\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-768x520.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Jones in ’Sunny.‘ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Sunny\u003c/em>, July 10, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Rashida Jones stars as Suzie, an American expat living in Kyoto, Japan, when her husband and son go missing following a plane crash. She’s gifted a domestic robot named Sunny (Joanna Sotomura), and the two form a bond as Suzie processes her loss. The series is based on Colin O’Sullivan’s novel \u003cem>The Dark Manual\u003c/em> and looks like it has the potential to grapple with complicated questions around tech and human connection in our current era of AI paranoia. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OgEkSnH0g2g\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tulsa King\u003c/em>, Season 2, July 14, Paramount+\u003c/strong>\u003c/p>\n\u003cp>This show’s first-season success always seemed like a happy accident — an implausible dramedy about an exiled New York mobster rebuilding his life in Oklahoma, buoyed by star Sylvester Stallone’s watchable charm and unlikely comedic skill. The new season adds another watchable actor — \u003cem>Justified \u003c/em>alum Neal McDonough — but also sees former showrunner Terence Winter (\u003cem>Boardwalk Empire\u003c/em>, \u003cem>The Sopranos\u003c/em>) step down. Let’s hope all that change adds up to more coherent stories the second time around. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959210\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png\" alt=\"A grey-haired man sits behind a news desk gesturing with one hand.\" width=\"1134\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-1020x646.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-768x486.png 768w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Jon Stewart is back as one of the hosts of ‘The Daily Show,’ which will be on the road at the Republican National Convention in Milwaukee in July and the Democratic National Convention in Chicago in August. \u003ccite>(Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Daily Show \u003c/em>and \u003cem>The Late Show \u003c/em>at the RNC and DNC, week of July 15 (RNC) and week of Aug. 19 (DNC), CBS, Paramount+, Comedy Central\u003c/strong>\u003c/p>\n\u003cp>Two of TV’s biggest political comedy shows gate-crash the electoral process. Comedy Central’s \u003cem>The Daily Show\u003c/em>, reportedly with part-time host Jon Stewart, heads to Milwaukee for the Republican National Convention and to Chicago for the Democratic National Convention. Stephen Colbert’s \u003cem>The Late Show\u003c/em> goes live from New York for the RNC but broadcasts on the road for Democrats in Chi-Town. Pray to the comedy gods for a Colbert-Stewart tag-team ambush interview of Donald Trump and/or Joe Biden. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6xouFXMOvaU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Those About to Die\u003c/em>, July 18, Peacock\u003c/strong>\u003c/p>\n\u003cp>It’s tough to know why the streaming service known for \u003cem>Poker Face\u003c/em> and \u003cem>Bel-Air\u003c/em> greenlit an epic, $140 million limited series about corruption and violence in ancient Rome’s gladiator contests. But it has Anthony Hopkins as a Roman emperor, \u003cem>Independence Day\u003c/em> director Roland Emmerich as a co-director and lots of allusions to entertaining the public with bloody combat. So let the games begin. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959211\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png\" alt=\"A worried looking white woman stands before a department store window, glancing to the side. A Black woman is standing the window.\" width=\"936\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-768x440.png 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Moses Ingram in ‘Lady in the Lake.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Lady in the Lake\u003c/em>, July 19, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Not to be confused with the Raymond Chandler story of a similar name, this miniseries is based on a novel by Laura Lippman about a homemaker turned investigative reporter who becomes preoccupied with the separate murders of a white girl and a Black woman in 1960s Baltimore. The subject matter alone is intriguing, but a cast led by Natalie Portman and Moses Ingram (\u003cem>The Queen’s Gambit\u003c/em>) seals the deal. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IKxQEIOu_Yg\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Olympic Highlights with Kevin Hart and Kenan Thompson\u003c/em>, July 26, NBC, Peacock\u003c/strong>\u003c/p>\n\u003cp>For those only marginally interested in the Olympics, Kevin Hart and Snoop Dogg made must-see TV out of side-splitting Games commentary in 2021. NBCUniversal is amping up that strategy this year, pairing Hart with \u003cem>SNL\u003c/em>‘s Kenan Thompson over an eight-episode Peacock series, while featuring \u003cem>SNL\u003c/em> alum and superfan Leslie Jones in their coverage of the Paris events. I can’t wait to see some of comedy’s sharpest talents take on the biggest — and most rigid — sports establishment of them all. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003ch2>August\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=s0LVj0yo308\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Umbrella Academy\u003c/em>, Season 4, Aug. 8, Netflix\u003c/strong>\u003c/p>\n\u003cp>All six episodes of this deeply, profoundly, ecstatically weird series’ fourth and final season drop on the same day. I’ll be there with a bowl of popcorn — and a phone open to the show’s wiki to help me reorient myself. Look, any series that features fractious superpowered siblings, branching timelines, a masked assassin played by Mary J. Blige and a kugelblitz (look it up) would be a lot to deal with, but \u003cem>The Umbrella Academy\u003c/em>’s consistently wry, absurdist tone keeps it all grounded(ish). I’ll miss it. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959213\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png\" alt=\"A Black woman with very short hair stands on a bridge, holding a cell phone to her ear.\" width=\"1118\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-768x501.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Myha’la Herrold as Harper Stern in ‘Industry.’ \u003ccite>(Nick Strasburg/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Industry\u003c/em>, Season 3, Aug. 11, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>A show with this much dry and confusing finance jargon shouldn’t be this gripping; it stands as a testament to the great cast (especially Myha’la Herrold and Ken Leung) and well-paced drama that it is. When the series last left off, some primary players were in shambles because of exposed secrets, and power structures were realigned yet again. \u003cem>Succession \u003c/em>may be long over, but at least we’ve still got the chaotic ecosystem of London’s cutthroat Pierpoint investment bank. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amazon supports NPR and pays to distribute some of our content.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It looks like we are in for a \u003ca href=\"https://www.npr.org/2024/05/27/1198912427/summer-2024-forecast-extreme-heat-hurricanes-wildfire\">very hot summer\u003c/a>. If you find yourself stuck inside looking for your next show, our critics can help — they’ve scanned the broadcast and streaming horizons to find the shows you should check out in June, July and August. Take a look:\u003c/p>\n\u003ch2>June\u003c/h2>\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/WPIcQNMQchQ'\n title='//www.youtube.com/embed/WPIcQNMQchQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Clipped\u003c/em>, June 4, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>It sounds like a dated \u003cem>Saturday Night Live\u003c/em> parody: a drama on the explosive impact of racist statements by then–Los Angeles Clippers owner Donald Sterling, leaked to the public in 2014. But the elevated cast — Laurence Fishburne as Clippers coach Doc Rivers, Ed O’Neill as Sterling and LeVar Burton as himself — hints at more. Ultimately, \u003ca href=\"https://www.npr.org/2024/05/24/nx-s1-4979750/clipped-review-donald-sterling-scandal-la-clippers-fx-hulu\">the show explores class, race, sports and modern striving\u003c/a> with surprising quality, including a meditation on how Black stars handle rage, which should get its own Emmy Award. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0Hy1q_YIAL4'\n title='//www.youtube.com/embed/0Hy1q_YIAL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Fantasmas\u003c/em>, June 7, Max\u003c/strong>\u003c/p>\n\u003cp>Created, written, starring and directed by Julio Torres (\u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">\u003cem>Problemista\u003c/em>\u003c/a>, \u003cem>Los Espookys\u003c/em>), this six-episode comedy series offers a queer (in every sense of the word) perspective on life in NYC. The plot: Torres loses an earring and goes looking for it. The execution: high weirdness, exquisitely wrought, as the loose narrative wanders through the lives of random New Yorkers whom Torres stumbles across on his quest. Smart, funny and scathing when it wants to be, \u003cem>Fantasmas \u003c/em>is bracingly and idiosyncratically itself. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_yUW-bQ3buY'\n title='//www.youtube.com/embed/_yUW-bQ3buY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Queenie\u003c/em>, June 7, Hulu\u003c/strong>\u003c/p>\n\u003cp>There is something magnetic in watching a powerfully awkward protagonist stumble through life — especially Queenie, a 20-something Jamaican British woman caught between life as the daughter of immigrants and a painful breakup with a white boyfriend coddling vaguely racist relatives. Based on a bestselling novel, Hulu’s series offers a deeply revealing urban comedy centered on a strong Black woman in London struggling to process her past so she can build a better future. Like most of us. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZNSY3lMioHs'\n title='//www.youtube.com/embed/ZNSY3lMioHs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Presumed Innocent\u003c/em>, June 12, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Presumed Innocent\u003c/em>, a bestselling legal thriller by Scott Turow, became a Harrison Ford movie in 1990. Now, more than 30 years later, \u003ca href=\"https://www.kqed.org/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good\">Jake Gyllenhaal\u003c/a> steps in to lead a new TV adaptation for Apple. Gyllenhaal plays Rusty Sabich, a lawyer whose obsessive affair with a woman in his office becomes an existential threat to him after she turns up murdered. His mortified wife, played here by Ruth Negga, is forced to face the possibility that he murdered his lover and the fact that he had one. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EzFXDvC-EwM'\n title='//www.youtube.com/embed/EzFXDvC-EwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Boys\u003c/em>, Season 4,\u003c/strong> \u003cstrong>June 13, Prime Video\u003c/strong>\u003c/p>\n\u003cp>This cartoonishly violent and sexualized series — starring corporate-designed superheroes who are secretly psychopaths — evolved over three seasons from jabbing at the Marvel/DC comic industrial complex to satirizing media and MAGA-style conservatism. The new episodes amp up the dynamic, with a new hero who comes off like Lauren Boebert in a cape, supported by a propaganda-filled TV channel and a twisted Superman-like team leader whose detachment from humanity may be the world’s biggest threat. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YN2H_sKcmGw'\n title='//www.youtube.com/embed/YN2H_sKcmGw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>House of the Dragon\u003c/em>, Season 2, June 16, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>Yeah, that first season was very uneven. But it did what it had to do, introducing us to the individual chess pieces and carefully arranging them on the sides they’re playing for: Team Black (Rhaenyra and her sweet-natured, albeit illegitimate sons) vs. Team Green (Alicent and her brood of monstrous sociopaths). But with the arrival of Season 2, the war known as the Dance of the Dragons is finally underway, and the whole dang chessboard is about to get engulfed in gouts of fiery breath. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P-1V_dRubUg'\n title='//www.youtube.com/embed/P-1V_dRubUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The 77th Tony Awards, June 16, CBS, Paramount+\u003c/strong>\u003c/p>\n\u003cp>Always. Watch. The Tonys. Haven’t taken in any Broadway this year? Doesn’t matter. Where other award shows devolve into pompous self-congratulation, the Tonys broadcast is aimed squarely at us, as we sit on our couches at home. It’s a collective siren song sent out by thousands of professional, desperate, try-hard theater people with one objective: to get us to haul our butts to see a show. As such, it’s painstakingly engineered to entertain and enrapture. Always. Watch. The Tonys. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-QqOkpu9_tg'\n title='//www.youtube.com/embed/-QqOkpu9_tg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Orphan Black: Echoes\u003c/em>, June 23, AMC, AMC+, BBC America\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Jessica Jones\u003c/em> star Krysten Ritter leads another Comic-Con-friendly franchise, a spinoff of Canadian science fiction series \u003cem>Orphan Black\u003c/em>. Ritter is one of several women with missing memories who fear they are the product of a mysterious process wielded by a secretive organization. But don’t worry — it’s set nearly 40 years after the first show’s conclusion, and most viewers won’t need to know much about the mothership series to keep up with this tale of sisterhood, science and runaway progress. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PwFty8yi1cU'\n title='//www.youtube.com/embed/PwFty8yi1cU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>My Lady Jane\u003c/em>, June 27, Prime Video\u003c/strong>\u003c/p>\n\u003cp>A breezy, girlboss alt-history take on Lady Jane Grey, who, in our world, ruled England for nine days before being imprisoned and beheaded as a traitor. In the world of the series — as in the novels it is based on — Jane lives to fight, and frolic, another day. Are there schemes and plots and twists? You betcha. It’s the sort of quippy, performatively quirky show (this version of England is teeming with magical shape-changers) that goes down like an ice-cold Pimm’s cup on a hot summer afternoon. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rUlP-BkJUFs'\n title='//www.youtube.com/embed/rUlP-BkJUFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Bear\u003c/em>, Season 3, June 27, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>has already put out two exceptional seasons and is so strong now that even when Jeremy Allen White is on the sidelines, the rest of the cast hits home run after home run. As the show returns, Carmy (White) and Sydney (Ayo Edebiri) are opening their new restaurant, and Richie (Ebon Moss-Bachrach) is fresh off some tremendous training in service. It’s not easy to keep churning out season after season that’s absolutely top quality, but if anybody can, it’s this team. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch2>July\u003c/h2>\n\u003cfigure id=\"attachment_13959209\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png\" alt=\"An unhappy-looking woman sits in a large room. People around her sit at scattered tables.\" width=\"1266\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-768x520.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Jones in ’Sunny.‘ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Sunny\u003c/em>, July 10, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Rashida Jones stars as Suzie, an American expat living in Kyoto, Japan, when her husband and son go missing following a plane crash. She’s gifted a domestic robot named Sunny (Joanna Sotomura), and the two form a bond as Suzie processes her loss. The series is based on Colin O’Sullivan’s novel \u003cem>The Dark Manual\u003c/em> and looks like it has the potential to grapple with complicated questions around tech and human connection in our current era of AI paranoia. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OgEkSnH0g2g'\n title='//www.youtube.com/embed/OgEkSnH0g2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Tulsa King\u003c/em>, Season 2, July 14, Paramount+\u003c/strong>\u003c/p>\n\u003cp>This show’s first-season success always seemed like a happy accident — an implausible dramedy about an exiled New York mobster rebuilding his life in Oklahoma, buoyed by star Sylvester Stallone’s watchable charm and unlikely comedic skill. The new season adds another watchable actor — \u003cem>Justified \u003c/em>alum Neal McDonough — but also sees former showrunner Terence Winter (\u003cem>Boardwalk Empire\u003c/em>, \u003cem>The Sopranos\u003c/em>) step down. Let’s hope all that change adds up to more coherent stories the second time around. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959210\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png\" alt=\"A grey-haired man sits behind a news desk gesturing with one hand.\" width=\"1134\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-1020x646.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-768x486.png 768w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Jon Stewart is back as one of the hosts of ‘The Daily Show,’ which will be on the road at the Republican National Convention in Milwaukee in July and the Democratic National Convention in Chicago in August. \u003ccite>(Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Daily Show \u003c/em>and \u003cem>The Late Show \u003c/em>at the RNC and DNC, week of July 15 (RNC) and week of Aug. 19 (DNC), CBS, Paramount+, Comedy Central\u003c/strong>\u003c/p>\n\u003cp>Two of TV’s biggest political comedy shows gate-crash the electoral process. Comedy Central’s \u003cem>The Daily Show\u003c/em>, reportedly with part-time host Jon Stewart, heads to Milwaukee for the Republican National Convention and to Chicago for the Democratic National Convention. Stephen Colbert’s \u003cem>The Late Show\u003c/em> goes live from New York for the RNC but broadcasts on the road for Democrats in Chi-Town. Pray to the comedy gods for a Colbert-Stewart tag-team ambush interview of Donald Trump and/or Joe Biden. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6xouFXMOvaU'\n title='//www.youtube.com/embed/6xouFXMOvaU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Those About to Die\u003c/em>, July 18, Peacock\u003c/strong>\u003c/p>\n\u003cp>It’s tough to know why the streaming service known for \u003cem>Poker Face\u003c/em> and \u003cem>Bel-Air\u003c/em> greenlit an epic, $140 million limited series about corruption and violence in ancient Rome’s gladiator contests. But it has Anthony Hopkins as a Roman emperor, \u003cem>Independence Day\u003c/em> director Roland Emmerich as a co-director and lots of allusions to entertaining the public with bloody combat. So let the games begin. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959211\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png\" alt=\"A worried looking white woman stands before a department store window, glancing to the side. A Black woman is standing the window.\" width=\"936\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-768x440.png 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Moses Ingram in ‘Lady in the Lake.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Lady in the Lake\u003c/em>, July 19, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Not to be confused with the Raymond Chandler story of a similar name, this miniseries is based on a novel by Laura Lippman about a homemaker turned investigative reporter who becomes preoccupied with the separate murders of a white girl and a Black woman in 1960s Baltimore. The subject matter alone is intriguing, but a cast led by Natalie Portman and Moses Ingram (\u003cem>The Queen’s Gambit\u003c/em>) seals the deal. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IKxQEIOu_Yg'\n title='//www.youtube.com/embed/IKxQEIOu_Yg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Olympic Highlights with Kevin Hart and Kenan Thompson\u003c/em>, July 26, NBC, Peacock\u003c/strong>\u003c/p>\n\u003cp>For those only marginally interested in the Olympics, Kevin Hart and Snoop Dogg made must-see TV out of side-splitting Games commentary in 2021. NBCUniversal is amping up that strategy this year, pairing Hart with \u003cem>SNL\u003c/em>‘s Kenan Thompson over an eight-episode Peacock series, while featuring \u003cem>SNL\u003c/em> alum and superfan Leslie Jones in their coverage of the Paris events. I can’t wait to see some of comedy’s sharpest talents take on the biggest — and most rigid — sports establishment of them all. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003ch2>August\u003c/h2>\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/s0LVj0yo308'\n title='//www.youtube.com/embed/s0LVj0yo308'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Umbrella Academy\u003c/em>, Season 4, Aug. 8, Netflix\u003c/strong>\u003c/p>\n\u003cp>All six episodes of this deeply, profoundly, ecstatically weird series’ fourth and final season drop on the same day. I’ll be there with a bowl of popcorn — and a phone open to the show’s wiki to help me reorient myself. Look, any series that features fractious superpowered siblings, branching timelines, a masked assassin played by Mary J. Blige and a kugelblitz (look it up) would be a lot to deal with, but \u003cem>The Umbrella Academy\u003c/em>’s consistently wry, absurdist tone keeps it all grounded(ish). I’ll miss it. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959213\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png\" alt=\"A Black woman with very short hair stands on a bridge, holding a cell phone to her ear.\" width=\"1118\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-768x501.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Myha’la Herrold as Harper Stern in ‘Industry.’ \u003ccite>(Nick Strasburg/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Industry\u003c/em>, Season 3, Aug. 11, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>A show with this much dry and confusing finance jargon shouldn’t be this gripping; it stands as a testament to the great cast (especially Myha’la Herrold and Ken Leung) and well-paced drama that it is. When the series last left off, some primary players were in shambles because of exposed secrets, and power structures were realigned yet again. \u003cem>Succession \u003c/em>may be long over, but at least we’ve still got the chaotic ecosystem of London’s cutthroat Pierpoint investment bank. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Elisabeth Moss Embraces Her Best Role Yet as a Secret Agent in ‘The Veil’",
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"content": "\u003cp>The new FX on Hulu series \u003cem>The Veil\u003c/em> is a spy show about several different spy agencies — from the United States, England and France — all after the same goal. They want to discover the details of a suspected new Sept. 11-type terrorist plot, reportedly emanating from the Middle East, and stop it before it happens.\u003c/p>\n\u003cp>Sometimes these organizations work together — sometimes they work against one another. But throughout, the agent who is most crucial to cracking the case is a British superspy temporarily going under the name of Imogen. She’s played by \u003ca href=\"https://www.npr.org/2013/07/03/198032876/elisabeth-moss-from-naif-to-player-on-tvs-mad-men\">Elisabeth Moss\u003c/a>, of \u003ca href=\"https://www.npr.org/2013/04/25/178832854/matthew-weiner-on-mad-men-and-meaning\">\u003cem>Mad Men\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem> The Handmaid’s Tale\u003c/em>\u003c/a>, and by the end of the six episodes of \u003cem>The Veil, \u003c/em>I was convinced that this is Moss’ best role, and best performance, yet. She’s amazing.\u003c/p>\n\u003cp>[aside postid='arts_13956676']As a secret agent, Imogen has plenty of secrets of her own, which unfold slowly as the miniseries progresses. She’s a damaged soul with a haunted past — which, for her latest mission, turns out to be a valuable asset. She’s been charged to locate and befriend a woman who recently surfaced in a refugee camp on the Syrian and Turkish border.\u003c/p>\n\u003cp>The woman, going by the name Adilah (Yumna Marwan), claims to be of Algerian descent, and from France — but several spy agencies suspect her of being the elusive mastermind behind the rumored imminent terrorist plot. Imogen’s mission is to locate Adilah, who is held under guard at the camp after being attacked and stabbed by other refugees. Imogen offers to help Adilah escape, while getting close enough to try to ascertain her true identity, motives and target.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GGMmFC_GpXc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The terrorist Imogen is hunting is known as Djinn al Raqqa — in folklore, a shape-shifting genie who can assume any form. Is Adilah actually Djinn al Raqqa hiding in plain sight? Or is she as innocent as she claims? Imogen, a shapeshifter of sorts herself, uses all her spycraft skills to earn Adilah’s trust, by helping her in her quest to cross borders and return to Paris, where her young daughter awaits.\u003c/p>\n\u003cp>Their journey is fascinating, with each probing to learn the other’s secrets while protecting her own. It’s a bit like \u003ca href=\"https://www.npr.org/2020/04/27/845274696/whod-have-thought-we-d-be-watching-the-homeland-finale-to-de-stress\">\u003cem>Homeland \u003c/em>\u003c/a>where you, the viewer, are unsure of each character’s true motives. And as the two women go off the grid and spend time with each other, avoiding all the authorities trying to locate them, their relationship keeps deepening.\u003c/p>\n\u003cfigure id=\"attachment_13956950\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png\" alt=\"Two women peer out from behind a wall, looking for someone.\" width=\"1298\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-1020x761.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-768x573.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Elisabeth Moss and Yumna Marwan are more alike than either initially suspect in ‘The Veil.’ \u003ccite>(Christine Tamalet/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, \u003cem>The Veil \u003c/em>is a bit like \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a>\u003cem>. \u003c/em>Except, sometimes, it’s more like \u003cem>Thelma v. Louise.\u003c/em> Both characters are delightfully unpredictable. In one scene, Imogen takes Adilah to a smuggler they hope will give them new passports and identities to get to Paris. Imogen’s plan is to have them pose as singers and belly dancers. But their proposed cover is at risk when the smuggler decides to test them a little by demanding that Adilah display her skills — which she does, leaving both Imogen and the smuggler suitably impressed.\u003c/p>\n\u003cp>[aside postid='arts_13955549']These two actors are incredibly nuanced and well-matched in these roles — captivating as adversaries, and even more so if and when they decide to become allies. The writer and creator of \u003cem>The Veil\u003c/em>, Steven Knight from \u003cem>Peaky Blinders \u003c/em>and \u003ca href=\"https://www.kqed.org/arts/13937572/all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale\">\u003cem>All the Light We Cannot See\u003c/em>\u003c/a>\u003cem>,\u003c/em> explores their relationship brilliantly. But he also keeps escalating the terrorist plot, and following the many agents and agencies trying to crack it. One special standout here is Josh Charles, from \u003cem>The Good Wife\u003c/em> and\u003cem> Sports Night,\u003c/em> who is cast as an aggressive CIA agent on French soil — an ugly American in Paris. He plays his part perfectly.\u003c/p>\n\u003cp>Even so,\u003cem> The Veil, \u003c/em>at its core, is the story of two shape-shifting survivors who are more alike than either of them suspected — and whose realization of that fact may, or may not, stop a horrifying terrorist attack. It’s quite a voyage — and quite a drama.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Veil’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new FX on Hulu series \u003cem>The Veil\u003c/em> is a spy show about several different spy agencies — from the United States, England and France — all after the same goal. They want to discover the details of a suspected new Sept. 11-type terrorist plot, reportedly emanating from the Middle East, and stop it before it happens.\u003c/p>\n\u003cp>Sometimes these organizations work together — sometimes they work against one another. But throughout, the agent who is most crucial to cracking the case is a British superspy temporarily going under the name of Imogen. She’s played by \u003ca href=\"https://www.npr.org/2013/07/03/198032876/elisabeth-moss-from-naif-to-player-on-tvs-mad-men\">Elisabeth Moss\u003c/a>, of \u003ca href=\"https://www.npr.org/2013/04/25/178832854/matthew-weiner-on-mad-men-and-meaning\">\u003cem>Mad Men\u003c/em>\u003c/a> and\u003ca href=\"https://www.npr.org/2022/09/15/1123153313/the-handmaids-tale-season-5-recap\">\u003cem> The Handmaid’s Tale\u003c/em>\u003c/a>, and by the end of the six episodes of \u003cem>The Veil, \u003c/em>I was convinced that this is Moss’ best role, and best performance, yet. She’s amazing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a secret agent, Imogen has plenty of secrets of her own, which unfold slowly as the miniseries progresses. She’s a damaged soul with a haunted past — which, for her latest mission, turns out to be a valuable asset. She’s been charged to locate and befriend a woman who recently surfaced in a refugee camp on the Syrian and Turkish border.\u003c/p>\n\u003cp>The woman, going by the name Adilah (Yumna Marwan), claims to be of Algerian descent, and from France — but several spy agencies suspect her of being the elusive mastermind behind the rumored imminent terrorist plot. Imogen’s mission is to locate Adilah, who is held under guard at the camp after being attacked and stabbed by other refugees. Imogen offers to help Adilah escape, while getting close enough to try to ascertain her true identity, motives and target.\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/GGMmFC_GpXc'\n title='//www.youtube.com/embed/GGMmFC_GpXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The terrorist Imogen is hunting is known as Djinn al Raqqa — in folklore, a shape-shifting genie who can assume any form. Is Adilah actually Djinn al Raqqa hiding in plain sight? Or is she as innocent as she claims? Imogen, a shapeshifter of sorts herself, uses all her spycraft skills to earn Adilah’s trust, by helping her in her quest to cross borders and return to Paris, where her young daughter awaits.\u003c/p>\n\u003cp>Their journey is fascinating, with each probing to learn the other’s secrets while protecting her own. It’s a bit like \u003ca href=\"https://www.npr.org/2020/04/27/845274696/whod-have-thought-we-d-be-watching-the-homeland-finale-to-de-stress\">\u003cem>Homeland \u003c/em>\u003c/a>where you, the viewer, are unsure of each character’s true motives. And as the two women go off the grid and spend time with each other, avoiding all the authorities trying to locate them, their relationship keeps deepening.\u003c/p>\n\u003cfigure id=\"attachment_13956950\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png\" alt=\"Two women peer out from behind a wall, looking for someone.\" width=\"1298\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-800x597.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-1020x761.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-01-at-10.33.54-AM-768x573.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Elisabeth Moss and Yumna Marwan are more alike than either initially suspect in ‘The Veil.’ \u003ccite>(Christine Tamalet/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, \u003cem>The Veil \u003c/em>is a bit like \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a>\u003cem>. \u003c/em>Except, sometimes, it’s more like \u003cem>Thelma v. Louise.\u003c/em> Both characters are delightfully unpredictable. In one scene, Imogen takes Adilah to a smuggler they hope will give them new passports and identities to get to Paris. Imogen’s plan is to have them pose as singers and belly dancers. But their proposed cover is at risk when the smuggler decides to test them a little by demanding that Adilah display her skills — which she does, leaving both Imogen and the smuggler suitably impressed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These two actors are incredibly nuanced and well-matched in these roles — captivating as adversaries, and even more so if and when they decide to become allies. The writer and creator of \u003cem>The Veil\u003c/em>, Steven Knight from \u003cem>Peaky Blinders \u003c/em>and \u003ca href=\"https://www.kqed.org/arts/13937572/all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale\">\u003cem>All the Light We Cannot See\u003c/em>\u003c/a>\u003cem>,\u003c/em> explores their relationship brilliantly. But he also keeps escalating the terrorist plot, and following the many agents and agencies trying to crack it. One special standout here is Josh Charles, from \u003cem>The Good Wife\u003c/em> and\u003cem> Sports Night,\u003c/em> who is cast as an aggressive CIA agent on French soil — an ugly American in Paris. He plays his part perfectly.\u003c/p>\n\u003cp>Even so,\u003cem> The Veil, \u003c/em>at its core, is the story of two shape-shifting survivors who are more alike than either of them suspected — and whose realization of that fact may, or may not, stop a horrifying terrorist attack. It’s quite a voyage — and quite a drama.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Veil’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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