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"content": "\u003cp>Michael Cera has been doing a lot of TV lately, but it’s nice to see him back on the big screen for the first time in five years. You might have seen him steal a few scenes \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">in \u003cem>Barbie\u003c/em> as Allan\u003c/a>, the discontinued Mattel doll briefly introduced in the 1960s as Ken’s best friend. Cera’s always been good at playing oddballs and misfits, to the point of being typecast, and sure enough, he plays another one in his new comedy, \u003cem>The Adults\u003c/em>. But his character, Eric, is one of his more interesting roles. He’s tricky and temperamental and hard to figure out — and so are his two sisters, Rachel and Maggie, whom he comes home to visit.\u003c/p>\n\u003cp>[aside postid='arts_13931753']It’s never explained why Eric has been away from his East Coast hometown for three years — maybe it was COVID lockdown, maybe something else. But things are clearly awkward between him and his older sister Rachel, played with a wonderfully sardonic edge by Hannah Gross. She lives in and takes care of the home they all grew up in as kids; their parents are dead.\u003c/p>\n\u003cp>In time we’ll also meet the youngest and gentlest of the three siblings, Maggie, played by Sophia Lillis. Unlike Rachel, Maggie is delighted to see their brother back in town. But she’s upset that Eric is only here for a short trip, mainly to see his old friends, and plans to spend just a little time with his sisters. He’s even rented a hotel room rather than staying at the house.\u003c/p>\n\u003cp>The writer-director Dustin Guy Defa doesn’t overload his characters with backstories. But he subtly suggests that all three of these siblings are feeling stunted and unfulfilled in their own ways. The details dribble out gradually: Rachel works at a local radio station, editing what she contemptuously calls “puff pieces.” Maggie is a recent college dropout. And as for Eric, it’s not entirely clear what he does for a living, if anything. He makes a big deal about getting home, but he winds up easily extending his trip — not to spend more time with his sisters, although he does, but to join his friends’ nightly poker games.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CmV5X0EBR8I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Poker serves as a pretty good metaphor in \u003cem>The Adults\u003c/em>, which is in some ways a movie about the art of the emotional bluff; it’s about characters who keep hiding how they really feel behind a wall of snark and sarcasm. But there’s more to their dynamic, too. As the story progresses, Rachel, Eric and Maggie begin reverting to a form of highly elaborate and eccentric role play from their childhood, often involving singing and dancing. At times their commitment to the bit is so extreme that you start to wonder if their parents were actors or improv comedians.\u003c/p>\n\u003cp>[aside postid='arts_13932890']The effect of all this self-involved play-acting is funny, bizarre, off-putting and weirdly moving. After a while, you realize that it’s only through this sophisticated-yet-childish language that the siblings can really connect and say what’s on their minds. At the same time, some of their old gags and routines don’t land the way they used to, which is poignant and relatable in itself. If you’ve ever had a relationship that felt like stale inside jokes were all you had left, you might know the feeling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Through this role play, you see how these characters fit together: Rachel, the judgmental, responsible one; Eric, the prodigal brother and Maggie, the fragile glue that holds them all together. There’s a wide-eyed Peter Pan quality to Lillis’ performance as Maggie, underlining our sense of these so-called adults as overgrown children. Cera, with his gangly grace, makes Eric both infuriating and endearing. But the most memorable work here comes from Gross, whose mix of big-sisterly fury and melancholy has stayed with me in the months since I first saw the movie. She turns this often squirmy comedy into something that might just break your heart.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Snark+and+sarcasm+rule+the+roost+in+%27The+Adults%2C%27+a+comedy+about+grown+siblings+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003cdiv>\u003cem>‘The Adults’ is released Aug. 18, 2023.\u003c/em>\u003c/div>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Cera has been doing a lot of TV lately, but it’s nice to see him back on the big screen for the first time in five years. You might have seen him steal a few scenes \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">in \u003cem>Barbie\u003c/em> as Allan\u003c/a>, the discontinued Mattel doll briefly introduced in the 1960s as Ken’s best friend. Cera’s always been good at playing oddballs and misfits, to the point of being typecast, and sure enough, he plays another one in his new comedy, \u003cem>The Adults\u003c/em>. But his character, Eric, is one of his more interesting roles. He’s tricky and temperamental and hard to figure out — and so are his two sisters, Rachel and Maggie, whom he comes home to visit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s never explained why Eric has been away from his East Coast hometown for three years — maybe it was COVID lockdown, maybe something else. But things are clearly awkward between him and his older sister Rachel, played with a wonderfully sardonic edge by Hannah Gross. She lives in and takes care of the home they all grew up in as kids; their parents are dead.\u003c/p>\n\u003cp>In time we’ll also meet the youngest and gentlest of the three siblings, Maggie, played by Sophia Lillis. Unlike Rachel, Maggie is delighted to see their brother back in town. But she’s upset that Eric is only here for a short trip, mainly to see his old friends, and plans to spend just a little time with his sisters. He’s even rented a hotel room rather than staying at the house.\u003c/p>\n\u003cp>The writer-director Dustin Guy Defa doesn’t overload his characters with backstories. But he subtly suggests that all three of these siblings are feeling stunted and unfulfilled in their own ways. The details dribble out gradually: Rachel works at a local radio station, editing what she contemptuously calls “puff pieces.” Maggie is a recent college dropout. And as for Eric, it’s not entirely clear what he does for a living, if anything. He makes a big deal about getting home, but he winds up easily extending his trip — not to spend more time with his sisters, although he does, but to join his friends’ nightly poker games.\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/CmV5X0EBR8I'\n title='//www.youtube.com/embed/CmV5X0EBR8I'\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>Poker serves as a pretty good metaphor in \u003cem>The Adults\u003c/em>, which is in some ways a movie about the art of the emotional bluff; it’s about characters who keep hiding how they really feel behind a wall of snark and sarcasm. But there’s more to their dynamic, too. As the story progresses, Rachel, Eric and Maggie begin reverting to a form of highly elaborate and eccentric role play from their childhood, often involving singing and dancing. At times their commitment to the bit is so extreme that you start to wonder if their parents were actors or improv comedians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The effect of all this self-involved play-acting is funny, bizarre, off-putting and weirdly moving. After a while, you realize that it’s only through this sophisticated-yet-childish language that the siblings can really connect and say what’s on their minds. At the same time, some of their old gags and routines don’t land the way they used to, which is poignant and relatable in itself. If you’ve ever had a relationship that felt like stale inside jokes were all you had left, you might know the feeling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Through this role play, you see how these characters fit together: Rachel, the judgmental, responsible one; Eric, the prodigal brother and Maggie, the fragile glue that holds them all together. There’s a wide-eyed Peter Pan quality to Lillis’ performance as Maggie, underlining our sense of these so-called adults as overgrown children. Cera, with his gangly grace, makes Eric both infuriating and endearing. But the most memorable work here comes from Gross, whose mix of big-sisterly fury and melancholy has stayed with me in the months since I first saw the movie. She turns this often squirmy comedy into something that might just break your heart.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Snark+and+sarcasm+rule+the+roost+in+%27The+Adults%2C%27+a+comedy+about+grown+siblings+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003cdiv>\u003cem>‘The Adults’ is released Aug. 18, 2023.\u003c/em>\u003c/div>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Appreciation of Allan: The Unsung Hero of the ‘Barbie’ Movie",
"headTitle": "In Appreciation of Allan: The Unsung Hero of the ‘Barbie’ Movie | KQED",
"content": "\u003cp>In the seven months since the first trailer for Greta Gerwig’s \u003cem>Barbie\u003c/em> dropped, audiences have come to expect a few things from the relentlessly promoted film: to be dazzled by the campy pink landscapes, charmed by Margot Robbie and Ryan Gosling, and deeply conflicted — at best — about what amounts to a feature-length Mattel commercial. (According to \u003ca href=\"https://www.forbes.com/sites/qai/2023/07/06/barbie-owner-mattel-plans-45-more-toy-movies-as-ip-and-nostalgia-trend-continues/?sh=2189e8db3983\">some sources\u003c/a>, the company has \u003cem>up to 45 more movies based on toys\u003c/em> in the works.) Walking into the theater, I anticipated some laughs, some cringing, some feminist ambivalence.\u003c/p>\n\u003cp>What I did not expect was to walk out obsessed with a character I previously barely knew existed: Allan.\u003c/p>\n\u003cp>[aside postid='arts_13931677']Allan has been an under-appreciated hero in the world of Barbie from the very beginning. Introduced as “Ken’s buddy” in 1964, the doll’s main selling point was that he could wear all of Ken’s clothes. Allan’s other job was being the groom to \u003ca href=\"https://en.wikipedia.org/wiki/Midge_(Barbie)\">Midge\u003c/a> — Barbie’s less glamorous best friend — and a father to their three children. When Ken was busy at the beach or sunning himself by the pool, Allan was just out there being a solid partner and a good dad. And what thanks did he get? He was around for just two years after Mattel introduced him, and brought back only briefly in 1991 and 2002.\u003c/p>\n\u003cp>It makes sense, then, that Allan is very much a side character in \u003cem>Barbie\u003c/em>. But in Michael Cera’s hands, he routinely steals the show. Just as Margot Robbie’s beauty and inherent likability make her the quintessential Barbie, and Ryan Gosling’s comedy chops and chiseled features make him a fantastic Ken, Cera is the right combination of cute-but-weird to make Allan make sense. There are a few things that miss the mark in the movie (including a weird, overstrung ending)\u003cstrong>,\u003c/strong> but casting is most definitely not one of them.\u003c/p>\n\u003cfigure id=\"attachment_13931759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png\" alt=\"A young man with a waxy complexion and neatly combed brown hair, smiles broadly, mid-dance move. He is wearing a multicolored striped shirt with white collar.\" width=\"800\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-1020x925.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-768x696.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There is only one Allan, and that’s why he’s so splendid. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of \u003cem>Barbie\u003c/em>‘s plot goes like this: Barbie and all her Barbie friends are living in Barbieland, having the best day ever, every single day. The Kens are around and fun companions, but it’s the Barbies who are running things. This is a world where every night is girls’ night, the Supreme Court looks like a Miss America pageant, and no one knows where the Kens even live.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One day, Robbie’s “stereotypical Barbie” starts having dark thoughts that disrupt her perfect existence. She is forced to go on a quest to the real world to try and fix whatever is wrong so she can return to oblivious joy. Along the way, there are lessons about female solidarity, the insidiousness of the patriarchy and the complicated cultural deprogramming women must do in order to thrive.\u003c/p>\n\u003cp>Allan is around throughout, but he doesn’t entirely fit in with either the Barbies or the Kens. That element is established early. As we see Barbie’s day unfold on screen for the very first time, all of the Barbies and all of the Kens are at the beach, taking the time to enthusiastically greet each other one-by-one. This goes on for some time. Then he appears, resplendent in his multicolored striped shirt and blue shorts, somewhat off to one side.\u003c/p>\n\u003cp>“Hi Barbie!” Allan calls.\u003c/p>\n\u003cp>“Oh, hi Allan!” Barbie smiles back.\u003c/p>\n\u003cp>And then a Helen Mirren voiceover pipes up to let the audience know: “There are no multiples of Allan. He’s just Allan.”\u003c/p>\n\u003cp>“Yeah,” Allan says, shifting awkwardly. “I’m confused about that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gvZccmVDl9Y\u003c/p>\n\u003cp>Introducing Allan this way initially implies that his primary function in \u003cem>Barbie\u003c/em> will be to serve up comic relief on the side, a little slice of understated in a relentlessly bright, shiny world. (Make no mistake, \u003cem>Barbie\u003c/em> is very funny at times. Gags about \u003cem>The Godfather\u003c/em>, Stephen Malkmus and Matchbox Twenty’s “Push” are worth the ticket price alone.) What becomes clear as the movie progresses, however, is that Allan isn’t just a consistent scene-stealer — he’s the movie’s moral center. And a lot of that is due to the fact that there’s only one Allan.\u003c/p>\n\u003cp>[aside postid='arts_13931981']At its core, \u003cem>Barbie\u003c/em> is a movie consumed with ideas around self-determination and independence. Each of the characters, at one time or another, has to carve out their own path and find autonomy — all except for Allan. Because Allan starts out as one of a kind, he already knows exactly who he is. He never wavers from doing what he knows is right, never swayed by the status or power of others.\u003c/p>\n\u003cp>While the Kens are fighting one another, Allan helps the Barbies with an important task. When the Kens learn how to be sexist, Allan — immediately uncomfortable around performative and toxic masculinity — decides to team up with the Barbies to put a stop to it. Allan is a lover, not a fighter, but he’s tougher than all of the Kens put together when an emergency situation calls for it. Allan gives a lot, but asks for nothing. He’s independently minded. Above all, Allan is an ally.\u003c/p>\n\u003cfigure id=\"attachment_13931830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg\" alt=\"Four women in pink jumpsuits and sunglasses peak out of the back doors of a van. Partially obscured in the back is a man in the same pink jumpsuit.\" width=\"800\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1020x506.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-160x79.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-768x381.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1536x762.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allan, almost invisible, in the back of a van, wearing a pink jumpsuit, helping out two Barbies and a couple of human women. Because that’s what Allan does, dammit. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a movie that is often frustratingly heavy-handed with its lessons, Allan’s awesomeness somehow manages to slip under the radar, always providing the best examples of how to behave without directly signposting it. So when you do finally see \u003cem>Barbie\u003c/em>, just go into the theater knowing that Allan is the one to watch. Because in an ego-driven world of Barbies and Kens, being an Allan — one-of-a-kind when everyone around you defaults to following the crowd — is simply the coolest way to go.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Barbie’ hits theaters nationwide on Friday, July 21, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the seven months since the first trailer for Greta Gerwig’s \u003cem>Barbie\u003c/em> dropped, audiences have come to expect a few things from the relentlessly promoted film: to be dazzled by the campy pink landscapes, charmed by Margot Robbie and Ryan Gosling, and deeply conflicted — at best — about what amounts to a feature-length Mattel commercial. (According to \u003ca href=\"https://www.forbes.com/sites/qai/2023/07/06/barbie-owner-mattel-plans-45-more-toy-movies-as-ip-and-nostalgia-trend-continues/?sh=2189e8db3983\">some sources\u003c/a>, the company has \u003cem>up to 45 more movies based on toys\u003c/em> in the works.) Walking into the theater, I anticipated some laughs, some cringing, some feminist ambivalence.\u003c/p>\n\u003cp>What I did not expect was to walk out obsessed with a character I previously barely knew existed: Allan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Allan has been an under-appreciated hero in the world of Barbie from the very beginning. Introduced as “Ken’s buddy” in 1964, the doll’s main selling point was that he could wear all of Ken’s clothes. Allan’s other job was being the groom to \u003ca href=\"https://en.wikipedia.org/wiki/Midge_(Barbie)\">Midge\u003c/a> — Barbie’s less glamorous best friend — and a father to their three children. When Ken was busy at the beach or sunning himself by the pool, Allan was just out there being a solid partner and a good dad. And what thanks did he get? He was around for just two years after Mattel introduced him, and brought back only briefly in 1991 and 2002.\u003c/p>\n\u003cp>It makes sense, then, that Allan is very much a side character in \u003cem>Barbie\u003c/em>. But in Michael Cera’s hands, he routinely steals the show. Just as Margot Robbie’s beauty and inherent likability make her the quintessential Barbie, and Ryan Gosling’s comedy chops and chiseled features make him a fantastic Ken, Cera is the right combination of cute-but-weird to make Allan make sense. There are a few things that miss the mark in the movie (including a weird, overstrung ending)\u003cstrong>,\u003c/strong> but casting is most definitely not one of them.\u003c/p>\n\u003cfigure id=\"attachment_13931759\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931759\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png\" alt=\"A young man with a waxy complexion and neatly combed brown hair, smiles broadly, mid-dance move. He is wearing a multicolored striped shirt with white collar.\" width=\"800\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-800x725.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-1020x925.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM-768x696.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-18-at-12.18.03-PM.png 1310w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There is only one Allan, and that’s why he’s so splendid. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The crux of \u003cem>Barbie\u003c/em>‘s plot goes like this: Barbie and all her Barbie friends are living in Barbieland, having the best day ever, every single day. The Kens are around and fun companions, but it’s the Barbies who are running things. This is a world where every night is girls’ night, the Supreme Court looks like a Miss America pageant, and no one knows where the Kens even live.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One day, Robbie’s “stereotypical Barbie” starts having dark thoughts that disrupt her perfect existence. She is forced to go on a quest to the real world to try and fix whatever is wrong so she can return to oblivious joy. Along the way, there are lessons about female solidarity, the insidiousness of the patriarchy and the complicated cultural deprogramming women must do in order to thrive.\u003c/p>\n\u003cp>Allan is around throughout, but he doesn’t entirely fit in with either the Barbies or the Kens. That element is established early. As we see Barbie’s day unfold on screen for the very first time, all of the Barbies and all of the Kens are at the beach, taking the time to enthusiastically greet each other one-by-one. This goes on for some time. Then he appears, resplendent in his multicolored striped shirt and blue shorts, somewhat off to one side.\u003c/p>\n\u003cp>“Hi Barbie!” Allan calls.\u003c/p>\n\u003cp>“Oh, hi Allan!” Barbie smiles back.\u003c/p>\n\u003cp>And then a Helen Mirren voiceover pipes up to let the audience know: “There are no multiples of Allan. He’s just Allan.”\u003c/p>\n\u003cp>“Yeah,” Allan says, shifting awkwardly. “I’m confused about that.”\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/gvZccmVDl9Y'\n title='//www.youtube.com/embed/gvZccmVDl9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Introducing Allan this way initially implies that his primary function in \u003cem>Barbie\u003c/em> will be to serve up comic relief on the side, a little slice of understated in a relentlessly bright, shiny world. (Make no mistake, \u003cem>Barbie\u003c/em> is very funny at times. Gags about \u003cem>The Godfather\u003c/em>, Stephen Malkmus and Matchbox Twenty’s “Push” are worth the ticket price alone.) What becomes clear as the movie progresses, however, is that Allan isn’t just a consistent scene-stealer — he’s the movie’s moral center. And a lot of that is due to the fact that there’s only one Allan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At its core, \u003cem>Barbie\u003c/em> is a movie consumed with ideas around self-determination and independence. Each of the characters, at one time or another, has to carve out their own path and find autonomy — all except for Allan. Because Allan starts out as one of a kind, he already knows exactly who he is. He never wavers from doing what he knows is right, never swayed by the status or power of others.\u003c/p>\n\u003cp>While the Kens are fighting one another, Allan helps the Barbies with an important task. When the Kens learn how to be sexist, Allan — immediately uncomfortable around performative and toxic masculinity — decides to team up with the Barbies to put a stop to it. Allan is a lover, not a fighter, but he’s tougher than all of the Kens put together when an emergency situation calls for it. Allan gives a lot, but asks for nothing. He’s independently minded. Above all, Allan is an ally.\u003c/p>\n\u003cfigure id=\"attachment_13931830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg\" alt=\"Four women in pink jumpsuits and sunglasses peak out of the back doors of a van. Partially obscured in the back is a man in the same pink jumpsuit.\" width=\"800\" height=\"397\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-800x397.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1020x506.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-160x79.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-768x381.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667-1536x762.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/rev-1-BAR-TT2-002_High_Res_JPEG-scaled-e1689798457667.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allan, almost invisible, in the back of a van, wearing a pink jumpsuit, helping out two Barbies and a couple of human women. Because that’s what Allan does, dammit. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a movie that is often frustratingly heavy-handed with its lessons, Allan’s awesomeness somehow manages to slip under the radar, always providing the best examples of how to behave without directly signposting it. So when you do finally see \u003cem>Barbie\u003c/em>, just go into the theater knowing that Allan is the one to watch. Because in an ego-driven world of Barbies and Kens, being an Allan — one-of-a-kind when everyone around you defaults to following the crowd — is simply the coolest way to go.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Barbie’ hits theaters nationwide on Friday, July 21, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amy Schumer Branches Out (But Retains Her Hell-Raising Spirit) in 'Life & Beth'",
"headTitle": "Amy Schumer Branches Out (But Retains Her Hell-Raising Spirit) in ‘Life & Beth’ | KQED",
"content": "\u003cp>With really brilliant comedians, there’s nearly always a moment when they want to stop being only funny, to move beyond gags and skits, and seek out new emotional, thematic or stylistic territory. Sometimes this turns out magnificently, as when \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5574520\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie Chaplin \u003c/a>began making feature films far richer than his comic shorts; with others, the results can be downright embarrassing. Think of \u003ca href=\"https://www.npr.org/2015/07/29/426827865/at-79-woody-allen-says-theres-still-time-to-do-his-best-work\" target=\"_blank\" rel=\"noopener noreferrer\">Woody Allen\u003c/a>‘s ghastly attempts to be \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=12347936\" target=\"_blank\" rel=\"noopener noreferrer\">Ingmar Bergman\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13909570']But such are the perils of ambition, and I admire those willing to risk them. Take one of my favorites, Amy Schumer. Her series \u003ca href=\"https://www.npr.org/2013/06/25/188698578/inside-amy-schumer-its-not-just-sex-stuff\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Any Schumer\u003c/em>\u003c/a> was one of the indispensable shows of the last decade: a hilarious, raunchy, take-no-prisoners program with a steely feminist core.\u003c/p>\n\u003cp>Yet rather than keep making that series forever, she pushed herself in new directions—writing and starring in the hit film \u003ca href=\"https://www.npr.org/2015/07/17/423828933/i-really-like-you-amy-schumer-makes-a-fine-trainwreck\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Trainwreck\u003c/em>\u003c/a>, braving dramatic movie roles, even doing a cooking show with her husband. Now, she’s created and stars in an enjoyable new Hulu series, \u003cem>Life & Beth\u003c/em>, about a woman in her late 30s trying to get back in touch with who she really is.\u003c/p>\n\u003cp>Schumer plays Beth Jones, a hard-drinking wine rep in New York who doesn’t really like her job or her gung-ho jerk of a boyfriend. Then something happens that shakes her like a personal earthquake. Deciding to stop being, as she puts it, “the passive passenger in the car of her life,” she begins a voyage of self-discovery.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Dfz11eEOif0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This takes her home to the Long Island boonies and into flashback memories of the teenage Beth who had to deal with the difficult mother she resented—that’s \u003ca href=\"https://www.npr.org/2020/03/16/816506915/a-broadway-star-and-sunshinesongs-bring-high-school-musical-theater-to-small-scr\" target=\"_blank\" rel=\"noopener noreferrer\">Laura Benanti\u003c/a>—and the feckless father she adored, winningly played by \u003ca href=\"https://www.npr.org/2017/11/01/561115398/actor-michael-rapaport-on-sports-highs-lows-and-lebron\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Rapaport\u003c/a>. Back then, the one truly happy thing in Beth’s life was playing volleyball.\u003c/p>\n\u003cp>[aside postid='arts_13910084']Over the course of 10 episodes, Beth has all manner of mini-adventures. She goes to bars and funerals and farmers markets. She makes dirty jokes with her friends—many of them funny—and goes boating while high on mushrooms. She gets involved with a dim, hunky trainer, played by \u003ca href=\"https://www.npr.org/2017/10/31/561086996/mindhunter-actor-jonathan-groff-on-his-most-life-altering-roles\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Groff\u003c/a>, and a socially awkward farmer named John, played with a charming dryness by \u003ca href=\"https://www.npr.org/2007/06/13/480481376/michael-cera\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Cera\u003c/a>.\u003c/p>\n\u003cp>Now, as much as I liked watching \u003cem>Life & Beth\u003c/em>, it’s quite uneven. Beth’s story starts a tad slowly and its many tones never quite mesh. I kept thinking Schumer is trying to weave together two different strands of groundbreaking women’s television. One is the strand that includes \u003ca href=\"https://www.kqed.org/pop/111811/fleabag-and-killing-eve-creator-phoebe-waller-bridge-is-full-of-surprises\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fleabag\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/01/14/1072472731/hbo-somebody-somewhere-review-bridget-everett\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Somebody, Somewhere\u003c/em>\u003c/a>, whose heroines grapple with the past in order to move into the future. The other is found in \u003ca href=\"https://www.npr.org/2017/04/18/524452040/in-subdued-epilogue-girls-finale-leaves-new-york-most-of-the-cast-behind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girls\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2019/02/26/697712476/pamela-adlon-better-things-season-3-is-an-exaggerated-version-of-my-life\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Better Things\u003c/em>\u003c/a>, which are looser in form, and built less around a clear, overarching narrative than around capturing privileged moments and scenes that often don’t add up to anything bigger—and don’t need to.\u003c/p>\n\u003cp>I must admit that I never got fully invested in the grand arc of Beth’s attempts to let the past go. Schumer’s performance is plenty good—her acting keeps getting deeper—yet the whole healing narrative, complete with new boyfriend, feels tame and formulaic, especially coming from someone as original as Schumer. Beth’s story lacks the emotional and verbal pop of \u003cem>Fleabag\u003c/em> or the deep-body pain of \u003cem>Somebody, Somewhere\u003c/em>, whose heroine’s wounds feel much more profound than Beth’s.\u003c/p>\n\u003cp>[aside postid='arts_13909218']The show’s at its strongest when it’s less on point, giving free range to Schumer’s capacity for catching life on the wing — a spiky scene involving the Plan B morning-after pill, funny sex talk with a Black girlfriend who now chases white Jewish men, sardonic banter with her equally-screwed-up sister, an explosion of post-coital rage at John, a lovely scene of Beth’s dad teaching his daughters to eat oysters—not to mention all manner of good lines. “Do you have any preexisting conditions?” a doctor asks her before an MRI, and Beth replies, “I’m a woman.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, one great danger of cutting-edge comics expanding their range is that they can wind up having their ferocious brilliance smothered by safely conventional material, as happened to \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Pryor\u003c/a>, a certified genius who literally wound up playing a toy. Happily, Schumer escapes that fate in \u003cem>Life & Beth\u003c/em>. Although the cornball punniness of its title may give you pause, the show’s best moments prove that, inside Amy Schumer, the hell-raising spirit lives on.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amy+Schumer+branches+out+%28but+retains+her+hell-raising+spirit%29+in+%27Life+%26+Beth%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With really brilliant comedians, there’s nearly always a moment when they want to stop being only funny, to move beyond gags and skits, and seek out new emotional, thematic or stylistic territory. Sometimes this turns out magnificently, as when \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5574520\" target=\"_blank\" rel=\"noopener noreferrer\">Charlie Chaplin \u003c/a>began making feature films far richer than his comic shorts; with others, the results can be downright embarrassing. Think of \u003ca href=\"https://www.npr.org/2015/07/29/426827865/at-79-woody-allen-says-theres-still-time-to-do-his-best-work\" target=\"_blank\" rel=\"noopener noreferrer\">Woody Allen\u003c/a>‘s ghastly attempts to be \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=12347936\" target=\"_blank\" rel=\"noopener noreferrer\">Ingmar Bergman\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But such are the perils of ambition, and I admire those willing to risk them. Take one of my favorites, Amy Schumer. Her series \u003ca href=\"https://www.npr.org/2013/06/25/188698578/inside-amy-schumer-its-not-just-sex-stuff\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Any Schumer\u003c/em>\u003c/a> was one of the indispensable shows of the last decade: a hilarious, raunchy, take-no-prisoners program with a steely feminist core.\u003c/p>\n\u003cp>Yet rather than keep making that series forever, she pushed herself in new directions—writing and starring in the hit film \u003ca href=\"https://www.npr.org/2015/07/17/423828933/i-really-like-you-amy-schumer-makes-a-fine-trainwreck\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Trainwreck\u003c/em>\u003c/a>, braving dramatic movie roles, even doing a cooking show with her husband. Now, she’s created and stars in an enjoyable new Hulu series, \u003cem>Life & Beth\u003c/em>, about a woman in her late 30s trying to get back in touch with who she really is.\u003c/p>\n\u003cp>Schumer plays Beth Jones, a hard-drinking wine rep in New York who doesn’t really like her job or her gung-ho jerk of a boyfriend. Then something happens that shakes her like a personal earthquake. Deciding to stop being, as she puts it, “the passive passenger in the car of her life,” she begins a voyage of self-discovery.\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/Dfz11eEOif0'\n title='//www.youtube.com/embed/Dfz11eEOif0'\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 takes her home to the Long Island boonies and into flashback memories of the teenage Beth who had to deal with the difficult mother she resented—that’s \u003ca href=\"https://www.npr.org/2020/03/16/816506915/a-broadway-star-and-sunshinesongs-bring-high-school-musical-theater-to-small-scr\" target=\"_blank\" rel=\"noopener noreferrer\">Laura Benanti\u003c/a>—and the feckless father she adored, winningly played by \u003ca href=\"https://www.npr.org/2017/11/01/561115398/actor-michael-rapaport-on-sports-highs-lows-and-lebron\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Rapaport\u003c/a>. Back then, the one truly happy thing in Beth’s life was playing volleyball.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Over the course of 10 episodes, Beth has all manner of mini-adventures. She goes to bars and funerals and farmers markets. She makes dirty jokes with her friends—many of them funny—and goes boating while high on mushrooms. She gets involved with a dim, hunky trainer, played by \u003ca href=\"https://www.npr.org/2017/10/31/561086996/mindhunter-actor-jonathan-groff-on-his-most-life-altering-roles\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Groff\u003c/a>, and a socially awkward farmer named John, played with a charming dryness by \u003ca href=\"https://www.npr.org/2007/06/13/480481376/michael-cera\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Cera\u003c/a>.\u003c/p>\n\u003cp>Now, as much as I liked watching \u003cem>Life & Beth\u003c/em>, it’s quite uneven. Beth’s story starts a tad slowly and its many tones never quite mesh. I kept thinking Schumer is trying to weave together two different strands of groundbreaking women’s television. One is the strand that includes \u003ca href=\"https://www.kqed.org/pop/111811/fleabag-and-killing-eve-creator-phoebe-waller-bridge-is-full-of-surprises\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fleabag\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2022/01/14/1072472731/hbo-somebody-somewhere-review-bridget-everett\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Somebody, Somewhere\u003c/em>\u003c/a>, whose heroines grapple with the past in order to move into the future. The other is found in \u003ca href=\"https://www.npr.org/2017/04/18/524452040/in-subdued-epilogue-girls-finale-leaves-new-york-most-of-the-cast-behind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Girls\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2019/02/26/697712476/pamela-adlon-better-things-season-3-is-an-exaggerated-version-of-my-life\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Better Things\u003c/em>\u003c/a>, which are looser in form, and built less around a clear, overarching narrative than around capturing privileged moments and scenes that often don’t add up to anything bigger—and don’t need to.\u003c/p>\n\u003cp>I must admit that I never got fully invested in the grand arc of Beth’s attempts to let the past go. Schumer’s performance is plenty good—her acting keeps getting deeper—yet the whole healing narrative, complete with new boyfriend, feels tame and formulaic, especially coming from someone as original as Schumer. Beth’s story lacks the emotional and verbal pop of \u003cem>Fleabag\u003c/em> or the deep-body pain of \u003cem>Somebody, Somewhere\u003c/em>, whose heroine’s wounds feel much more profound than Beth’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show’s at its strongest when it’s less on point, giving free range to Schumer’s capacity for catching life on the wing — a spiky scene involving the Plan B morning-after pill, funny sex talk with a Black girlfriend who now chases white Jewish men, sardonic banter with her equally-screwed-up sister, an explosion of post-coital rage at John, a lovely scene of Beth’s dad teaching his daughters to eat oysters—not to mention all manner of good lines. “Do you have any preexisting conditions?” a doctor asks her before an MRI, and Beth replies, “I’m a woman.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, one great danger of cutting-edge comics expanding their range is that they can wind up having their ferocious brilliance smothered by safely conventional material, as happened to \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Pryor\u003c/a>, a certified genius who literally wound up playing a toy. Happily, Schumer escapes that fate in \u003cem>Life & Beth\u003c/em>. Although the cornball punniness of its title may give you pause, the show’s best moments prove that, inside Amy Schumer, the hell-raising spirit lives on.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Amy+Schumer+branches+out+%28but+retains+her+hell-raising+spirit%29+in+%27Life+%26+Beth%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Selected Shorts",
"info": "Spellbinding short stories by established and emerging writers take on a new life when they are performed by stars of the stage and screen.",
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