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"content": "\u003cp>In Netflix’s new spy series \u003cem>Black Doves\u003c/em>, Keira Knightley’s character Helen Webb seems to be the perfect wife and partner for an up-and-coming official in the British government.\u003c/p>\n\u003cp>Beautiful and intelligent, she’s a warm mother to two cute kids, capable of hosting a holiday party for her husband’s staff in one moment and coercing the children to stop playing underneath a table in the next.\u003c/p>\n\u003cp>[aside postid='arts_13968374']But Mrs. Webb is also a spy for a mysterious intelligence organization, feeding them information about her husband’s work all while managing the family’s affairs — and having an affair with another man. And when that affair is discovered by a “handler” from the organization — played with a matronly ruthlessness by Sarah Lancashire — she mostly has one question for Mrs. Webb:\u003c/p>\n\u003cp>Why was she sleeping with this man?\u003c/p>\n\u003cp>Mrs. Webb’s answer was a surprise, coming from an experienced spy. “I wasn’t working an angle,” she says through tears. “It was real. It wasn’t a job. It was… love.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s right. After 10 years of marriage and two kids, Mrs. Webb fell in love with someone else while trying to decide if she still cares for her husband.\u003c/p>\n\u003cp>It’s a deliciously dramatic situation far different than the stories of detached, mostly loner spies like James Bond and \u003cem>Mission Impossible\u003c/em>‘s Ethan Hunt.\u003c/p>\n\u003ch3>Spies with families fill fall TV\u003c/h3>\n\u003cp>Sure, there have been spy characters with families in films and TV before, from Harrison Ford’s turn as Jack Ryan in 1992’s \u003cem>Patriot Games\u003c/em> to FX’s \u003cem>The Americans\u003c/em>, which concluded in 2018.\u003c/p>\n\u003cp>But this fall has seen a veritable flood of stories about spies with spouses and children, trying to hold onto their families while balancing the demands of brutal, often dehumanizing jobs.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7752x4360+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F66%2Fdd%2F58644e1a498196161eec3d0cb8e0%2Fagency-101-lv-240708-00688-rt2.JPG\" alt=\"In The Agency, Michael Fassbender plays Martian, a spy who returns home after a lengthy assignment.\">\u003cfigcaption>In \u003cem>The Agency\u003c/em>, Michael Fassbender plays Martian, a spy who returns home after a lengthy assignment. \u003ccite> (Luke Varley | Paramount+ and Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s Michael Fassbender’s CIA case officer Martian — I know, that name seems a little odd — in Showtime’s new series \u003cem>The Agency\u003c/em>. He’s trying to reconnect with a teen daughter named Poppy (India Fowler) who wants to know why he was gone so much during his last assignment.\u003c/p>\n\u003cp>She asks if he got information from people by making friends with them.\u003c/p>\n\u003cp>[aside postid='arts_13968835']“Friends are people you like,” Martian replies, wryly. “[These are more like] acquaintances.”\u003c/p>\n\u003cp>Poppy’s reply: “So you left us for six years to make… acquaintances?”\u003c/p>\n\u003cp>Ouch. Even bad guys have these issues. Like Eddie Redmayne’s character, an expert assassin in Peacock’s new series \u003cem>The Day of The Jackal\u003c/em>. He’s married to a woman named Nuria (Úrsula Corberó) who suspects he’s having an affair because he’s so secretive. She has no idea her charming husband, who she knows as Charles, is actually a world-famous hitman.\u003c/p>\n\u003cp>By the time she’s discovered the secret room he built in their home for his disguises, multiple passports and assorted weapons, you’re left wondering why she doesn’t just run for the hills.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1000x667+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F17%2Fd3%2Fee52718f4da79df4bbb6e81f2159%2Fnup-205202-00006.jpg\" alt=\"In The Day of the Jackal, Nuria (Úrsula Corberó) suspects her husband, who she knows as Charles (Eddie Redmayne), is having an affair. He's actually a world-famous hitman.\">\u003cfigcaption>In \u003cem>The Day of the Jackal\u003c/em>, Nuria (Úrsula Corberó) suspects her husband, who she knows as Charles (Eddie Redmayne), is having an affair. He’s actually a world-famous hitman. \u003ccite> (Marcell Piti | Carnival Film & Television Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spies with families are popping up in lots of series: Paramount+’s \u003cem>Lioness\u003c/em>. Apple TV+’s \u003cem>Slow Horses\u003c/em>. And the trend makes sense; for TV series looking to stretch compelling ideas across eight or ten episodes, the plotlines generated by family conflict can add a wealth of new storylines.\u003c/p>\n\u003cp>Each of these shows deftly uses spouses, children and loved ones to present a kind of spy thriller that feels different, with characters drawn so viewers can perhaps see a bit of themselves inside.\u003c/p>\n\u003ch3>Everyday problems writ large\u003c/h3>\n\u003cp>Their struggles can sometimes feel like ordinary challenges blown up into world-shaking espionage tales: spouses and children who don’t understand their demanding jobs, devotion to a vocation that damages them and their relationships, a growing sense of shame as their work keeps them from being present for the family.\u003c/p>\n\u003cp>[aside postid='arts_13968228']These characters, even the villains, aren’t necessarily cold blooded killers. Nothing humanizes a character like seeing them care for someone they love. Indeed, that’s often the difference between anti-heroes and villains in such stories – the villains don’t really love anybody but themselves, while anti-heroes are driven by their connections to other people.\u003c/p>\n\u003cp>Even as you watch Redmayne’s The Jackal kill a gun maker to keep him from talking to the authorities, part of you is rooting for him to get back to Nuria and their son Carlito.\u003c/p>\n\u003cp>Particularly in the case of \u003cem>Black Doves\u003c/em>, the romantic and family relationships add a significant layer to almost every major character’s arc — including Ben Whishaw, who plays a hitman acting as muscle for Knightley’s character Mrs. Webb. He also struggles with feelings about the family he could have shared with his own ex-boyfriend, who had a child.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sure, there are times when these setups seem preposterous or overwrought. But spies with families are also passionate and oh-so-human. Which, in the end, makes for the very best kind of spy story.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Friends are people you like,” Martian replies, wryly. “[These are more like] acquaintances.”\u003c/p>\n\u003cp>Poppy’s reply: “So you left us for six years to make… acquaintances?”\u003c/p>\n\u003cp>Ouch. Even bad guys have these issues. Like Eddie Redmayne’s character, an expert assassin in Peacock’s new series \u003cem>The Day of The Jackal\u003c/em>. He’s married to a woman named Nuria (Úrsula Corberó) who suspects he’s having an affair because he’s so secretive. She has no idea her charming husband, who she knows as Charles, is actually a world-famous hitman.\u003c/p>\n\u003cp>By the time she’s discovered the secret room he built in their home for his disguises, multiple passports and assorted weapons, you’re left wondering why she doesn’t just run for the hills.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1000x667+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F17%2Fd3%2Fee52718f4da79df4bbb6e81f2159%2Fnup-205202-00006.jpg\" alt=\"In The Day of the Jackal, Nuria (Úrsula Corberó) suspects her husband, who she knows as Charles (Eddie Redmayne), is having an affair. He's actually a world-famous hitman.\">\u003cfigcaption>In \u003cem>The Day of the Jackal\u003c/em>, Nuria (Úrsula Corberó) suspects her husband, who she knows as Charles (Eddie Redmayne), is having an affair. He’s actually a world-famous hitman. \u003ccite> (Marcell Piti | Carnival Film & Television Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spies with families are popping up in lots of series: Paramount+’s \u003cem>Lioness\u003c/em>. Apple TV+’s \u003cem>Slow Horses\u003c/em>. And the trend makes sense; for TV series looking to stretch compelling ideas across eight or ten episodes, the plotlines generated by family conflict can add a wealth of new storylines.\u003c/p>\n\u003cp>Each of these shows deftly uses spouses, children and loved ones to present a kind of spy thriller that feels different, with characters drawn so viewers can perhaps see a bit of themselves inside.\u003c/p>\n\u003ch3>Everyday problems writ large\u003c/h3>\n\u003cp>Their struggles can sometimes feel like ordinary challenges blown up into world-shaking espionage tales: spouses and children who don’t understand their demanding jobs, devotion to a vocation that damages them and their relationships, a growing sense of shame as their work keeps them from being present for the family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Toward the end of Netflix’s \u003cem>Joy\u003c/em>, the muffled cry of a newborn baby prompts a man and woman in a hospital to embrace out of pure bliss. They aren’t the parents, but they had as much to do with the birth as the mom and dad.\u003c/p>\n\u003cp>This charming and winning movie charts the decade-long true story of how the world’s first IVF baby was born in England in 1978 — a 5-pound, 12-ounce girl who paved the way for millions more. It’s an upbeat, very English affair, mixing sober discussion of endometriosis with chocolate biscuits.\u003c/p>\n\u003cp>[aside postid='arts_13968348']The couple embracing that day were pioneering scientist Robert Edwards and Jean Purdy, a young nurse and embryologist. Together with surgeon Patrick Steptoe, the trio succeeded with in vitro fertilization, a method of treating infertility. Edwards would go on to win the Nobel Prize.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> has been birthed at a time when science is under threat in America — even IVF — so it’s downright inspiring to see plucky, smart scientists working hard to change the world. “What we’re doing, it matters,” says Steptoe, played with quiet economy by Bill Nighy.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> is the personal stories of the three scientists — mostly through the eyes of Purdy, a polite lab-coated warrior. “If I hear a commotion, I’m not very good at staying out of it,” she says. Perfectly played by Thomasin McKenzie, Purdy is both vulnerable and strong, learning through the process to be a better human. James Norton plays Edwards with charm, self-doubt and calm spirit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qoyn5BCm37o\u003c/p>\n\u003cp>Jack Thorne’s script nicely explains the massive pressure the trio faced. IVF may have become common and uncontroversial over the last decades, but back in the late ’70s it was experimental and shunned. The Anglican church called it a sin, the newspapers labeled it Frankenstein-ish and other scientists warned of freak babies. “You’re aware they’ll throw the book at us,” Nighy’s Steptoe tells the team. “We will unite them all against us.”\u003c/p>\n\u003cp>Purdy, a single woman as the swinging ’60s lead to the ’70s, is exiled by her own pious mother — “You can’t play God with this,” the elder woman tells her daughter — and disinvited by her church. No matter. “This fight is ours. We don’t have a choice,” Purdy says. The film also celebrates the brave would-be mothers who volunteered their bodies to be poked and prodded at the edge of science.\u003c/p>\n\u003cp>Our hero researchers try to argue to the skeptical world in vain that IVF is simply a way for science to help those in need, like glasses for the shortsighted or dentures for those with teeth decay. It’s remarkable to return to this debate now when science’s great achievements today may be under threat, like fluoridated water.\u003c/p>\n\u003cp>[aside postid='arts_13968285']Director Ben Taylor keeps the story small and intimate, a series of vignettes adding up to almost like a play. It features moments of quiet and polite bravery, and small conversations over a pint of ale — a reminder of the power of performances and that changing the world doesn’t need a muscle-bound bro with X-ray vision.\u003c/p>\n\u003cp>It’s held together by a superb soundtrack with witty selections like “Yes We Can Can” by Lee Dorsey, “Nobody But Me” by The Human Beinz and “Here Comes the Sun” by George Harrison, each song encapsulating the moment in time, like pearls on a strand.\u003c/p>\n\u003cp>“Joy” is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joy’ begins streaming on Netflix on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Director Ben Taylor keeps the story small and intimate, a series of vignettes adding up to almost like a play. It features moments of quiet and polite bravery, and small conversations over a pint of ale — a reminder of the power of performances and that changing the world doesn’t need a muscle-bound bro with X-ray vision.\u003c/p>\n\u003cp>It’s held together by a superb soundtrack with witty selections like “Yes We Can Can” by Lee Dorsey, “Nobody But Me” by The Human Beinz and “Here Comes the Sun” by George Harrison, each song encapsulating the moment in time, like pearls on a strand.\u003c/p>\n\u003cp>“Joy” is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joy’ begins streaming on Netflix on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/beyonce\">Beyoncé\u003c/a> will perform at a halftime show during one of the NFL’s Christmas Day matchups on Netflix.\u003c/p>\n\u003cp>She will take the stage during a game between her hometown team, the Houston Texans, and the Baltimore Ravens, to perform songs from her latest album, \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Cowboy Carter\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13955633']The project was recently nominated for 11 \u003ca href=\"https://www.kqed.org/arts/tag/grammys\">Grammys\u003c/a>, breaking the record for the most nominations for an album by a female artist, and placed Beyoncé as the artist with the most nominations in history, with 99.\u003c/p>\n\u003cp>Artists featured on the album could make an appearance, some of whom include Miley Cyrus, Post Malone and Shaboozey, \u003ca href=\"https://about.netflix.com/en/news/beyonce-to-perform-at-halftime-of-ravens-texans-during-nfl-christmas-gameday\">Netflix said Sunday\u003c/a>.\u003c/p>\n\u003cp>Beyoncé previously performed at two Super Bowl halftime shows — in 2013 with Michelle Williams and Kelly Rowland, her former Destiny’s Child bandmates, and in 2016 with Coldplay and Bruno Mars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The game will stream on Netflix at 4:30 p.m. ET and be shown on the participating teams’ local broadcast channels. Earlier in the day, Netflix is also streaming a game between the Kansas City Chiefs and the Pittsburgh Steelers. The company says it has also secured holiday games for 2025 and 2026.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The project was recently nominated for 11 \u003ca href=\"https://www.kqed.org/arts/tag/grammys\">Grammys\u003c/a>, breaking the record for the most nominations for an album by a female artist, and placed Beyoncé as the artist with the most nominations in history, with 99.\u003c/p>\n\u003cp>Artists featured on the album could make an appearance, some of whom include Miley Cyrus, Post Malone and Shaboozey, \u003ca href=\"https://about.netflix.com/en/news/beyonce-to-perform-at-halftime-of-ravens-texans-during-nfl-christmas-gameday\">Netflix said Sunday\u003c/a>.\u003c/p>\n\u003cp>Beyoncé previously performed at two Super Bowl halftime shows — in 2013 with Michelle Williams and Kelly Rowland, her former Destiny’s Child bandmates, and in 2016 with Coldplay and Bruno Mars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson’s \u003cem>The Piano Lesson\u003c/em>. Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington’s footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.\u003c/p>\n\u003cp>[aside postid='arts_13967522']Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it’s second nature, it would be hard, one imagines, to go wrong. Jackson’s own history with the play goes back to its original run in 1987 when he was Boy Willie.\u003c/p>\n\u003cp>It’s not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with \u003cem>Mudbound\u003c/em> screenwriter Virgil Williams, goes beyond Wilson’s text and shows us the past and the origins of the intricately engraved piano that’s central to all the fuss.\u003c/p>\n\u003cp>The film even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family’s home. Another fleshes out Doaker’s monologue in which he explains to the uninitiated, Fisher’s Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes narration shine as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cZwjt0pjt8w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilson purists will certainly have opinions on these artistic choices; But they let the film breathe a bit, offering some respite from the living room with the looming piano. And most of the film stays right there, in 1936. Boy Willie and Lymon descend early one morning, uninvited, on the Pittsburgh home of Berniece and her uncle Doaker.\u003c/p>\n\u003cp>It’s a family reunion with an agenda: They’ve driven a truck full of watermelons up north from Mississippi, and Willie, Berniece’s younger brother, wants to sell the watermelons and then the piano. The dusty old instrument represents to him a chance to let the past go and start a future. With the money, he wants to buy the land that his enslaved ancestors worked. Berniece has other ideas about the piano, namely keeping it. It’s a connection to the past, not an anchor. Besides, it might be haunted.\u003c/p>\n\u003cp>[aside postid='arts_13967549']Yes, \u003cem>The Piano Lesson\u003c/em>, in theaters Friday and streaming on Netflix on Nov. 22, isn’t just a meditation on family history. It’s also a literal ghost story, with creaks, spooks and shadows lurking when the piano is disturbed. Deadwyler is electric as Berniece, who bears the brunt of the haunting, walking on eggshells in her life, trying to care for her young daughter and fend off passes from men who assume she can only be fulfilled with one at her side. Now she must deal with her somewhat manic brother who might, Doaker wisely reminds, actually, annoyingly, have a point. Perhaps the film academy will make up for their snub of her performance in \u003cem>Till\u003c/em> with this turn.\u003c/p>\n\u003cp>Regardless of your familiarity with Wilson’s Pittsburgh Cycle, \u003cem>The Piano Lesson\u003c/em> is a worthwhile, captivating and moving watch full of charismatic performers. Talent isn’t always genetic, but the Washington family is putting in the work to prove otherwise. And with \u003cem>Fences\u003c/em>, \u003cem>Ma Rainey’s Black Bottom\u003c/em> and now \u003cem>The Piano Lesson\u003c/em>, they’re making a mark with a bold and ambitious project that is probably long overdue. Only seven more to go.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Piano Lesson’ is out nationwide on Nov. 8, 2024 and begins streaming on Netflix on Nov. 22.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson’s \u003cem>The Piano Lesson\u003c/em>. Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington’s footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it’s second nature, it would be hard, one imagines, to go wrong. Jackson’s own history with the play goes back to its original run in 1987 when he was Boy Willie.\u003c/p>\n\u003cp>It’s not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with \u003cem>Mudbound\u003c/em> screenwriter Virgil Williams, goes beyond Wilson’s text and shows us the past and the origins of the intricately engraved piano that’s central to all the fuss.\u003c/p>\n\u003cp>The film even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family’s home. Another fleshes out Doaker’s monologue in which he explains to the uninitiated, Fisher’s Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes narration shine as well.\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/cZwjt0pjt8w'\n title='//www.youtube.com/embed/cZwjt0pjt8w'\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>Wilson purists will certainly have opinions on these artistic choices; But they let the film breathe a bit, offering some respite from the living room with the looming piano. And most of the film stays right there, in 1936. Boy Willie and Lymon descend early one morning, uninvited, on the Pittsburgh home of Berniece and her uncle Doaker.\u003c/p>\n\u003cp>It’s a family reunion with an agenda: They’ve driven a truck full of watermelons up north from Mississippi, and Willie, Berniece’s younger brother, wants to sell the watermelons and then the piano. The dusty old instrument represents to him a chance to let the past go and start a future. With the money, he wants to buy the land that his enslaved ancestors worked. Berniece has other ideas about the piano, namely keeping it. It’s a connection to the past, not an anchor. Besides, it might be haunted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yes, \u003cem>The Piano Lesson\u003c/em>, in theaters Friday and streaming on Netflix on Nov. 22, isn’t just a meditation on family history. It’s also a literal ghost story, with creaks, spooks and shadows lurking when the piano is disturbed. Deadwyler is electric as Berniece, who bears the brunt of the haunting, walking on eggshells in her life, trying to care for her young daughter and fend off passes from men who assume she can only be fulfilled with one at her side. Now she must deal with her somewhat manic brother who might, Doaker wisely reminds, actually, annoyingly, have a point. Perhaps the film academy will make up for their snub of her performance in \u003cem>Till\u003c/em> with this turn.\u003c/p>\n\u003cp>Regardless of your familiarity with Wilson’s Pittsburgh Cycle, \u003cem>The Piano Lesson\u003c/em> is a worthwhile, captivating and moving watch full of charismatic performers. Talent isn’t always genetic, but the Washington family is putting in the work to prove otherwise. And with \u003cem>Fences\u003c/em>, \u003cem>Ma Rainey’s Black Bottom\u003c/em> and now \u003cem>The Piano Lesson\u003c/em>, they’re making a mark with a bold and ambitious project that is probably long overdue. Only seven more to go.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Piano Lesson’ is out nationwide on Nov. 8, 2024 and begins streaming on Netflix on Nov. 22.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Keri Russell Returns as ‘The Diplomat,’ Which Is Just as Savvy in Season 2",
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"content": "\u003cp>At a time when it seems political rhetoric couldn’t get more bitter or outrageous, it’s easy to see the world’s leaders and the people who support them in the worst possible light.\u003c/p>\n\u003cp>[aside postid='arts_13966481']But Netflix’s \u003cem>The Diplomat\u003c/em> offers a different vision of politics: one where sharp staffers are often the backseat drivers in government, and many of those involved are truly interested in improving lives — even when they do awful things along the way.\u003c/p>\n\u003cp>That’s the universe Netflix’s series thrives in, where \u003cem>The Americans\u003c/em> alum Keri Russell plays a hard-nosed, practical mid-level diplomat suddenly elevated to serve as ambassador to Britain, amid plans to groom her to become America’s next vice president.\u003c/p>\n\u003ch3>Starting season two with a bang\u003c/h3>\n\u003cp>As the show’s second season kicks off, Russell’s Ambassador Kate Wyler is dealing with the aftermath of a cliffhanger that ended the first season. Her husband — former ambassador Hal Wyler — along with her deputy, Stuart Hayford and another aide were caught in the blast of a car bomb while trying to meet with an official from the British government.\u003c/p>\n\u003cp>The official may have had information about who really initiated a deadly attack against a British aircraft carrier from the first season. But instead of learning more, Kate’s husband and two members of her staff were caught in another attack.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While British and American officials scamper to figure out exactly what happened, we see \u003cem>The Diplomat \u003c/em>ride a delicious, compelling line between serving up hefty slices of political drama and revealing the mournful humanity of co-workers trying to recover from a massively traumatic event.\u003c/p>\n\u003cp>Every performance here is golden. Rory Kinnear is particularly excellent as an egotistical blowhard of a British Prime minister, Nicol Trowbridge. Ali Ahn, currently earning raves for her performance as a witch on Disney+’s \u003cem>Agatha All Along\u003c/em>, shines here as CIA station chief Eidra Park — trying to offer savvy, effective support to Kate while not-so-secretly fretting about Kate’s deputy Stuart, with whom she had a relationship.\u003c/p>\n\u003cp>Rufus Sewell is magnetic as Kate’s husband Hal; she suspects he sees her ascension to vice president as his best route back to power, but he insists otherwise, testing their relationship. David Gyasi plays U.K. foreign secretary Austin Dennison as a precise-yet-passionate power player, focused on doing the right thing for Britain, even as he grows closer to Kate and her marriage frays.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J49VymjKJ8w\u003c/p>\n\u003cp>But it’s not until \u003cem>West Wing\u003c/em> alum Allison Janney arrives as current Vice President Grace Penn that we see the show’s drama really come alive. As a brilliant vice president who may be forced to step down because of a financial scandal involving her husband, Penn excels at maneuvering others into doing what she wants while leaving them convinced it was all their idea.\u003c/p>\n\u003cp>Some may have been concerned that Janney is playing a souped-up version of her \u003cem>West Wing \u003c/em>character, White House staffer C.J. Cregg. But ultimately, they don’t have much in common beyond a habit of speaking directly and a predilection for pantsuits.\u003c/p>\n\u003cfigure id=\"attachment_13967597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png\" alt=\"A middle aged woman with a blond bob stands, arms crossed, in front of a stately home. She is wearing a dark red pantsuit.\" width=\"2000\" height=\"1351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1920x1297.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as Vice President Grace Penn. \u003ccite>(Alex Bailey/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A show centered on smart women leading\u003c/h3>\n\u003cp>What both of Janney’s characters do have in common, however, is that they are accomplished, effective women — making a difference in environments where their talents and achievements are often underestimated or overlooked.\u003c/p>\n\u003cp>Indeed, several storylines in \u003cem>The Diplomat \u003c/em>revolve around smart women deftly guiding powerful men into making better decisions than they could manage on their own. These men aren’t complete idiots, but also are not as smart as they believe — especially Trowbridge, a vociferous bully who leans heavily on several sharp-thinking women, including his wife.\u003c/p>\n\u003cp>[aside postid='arts_13965841']In a particularly pointed exchange, as Hal notes all the humiliating reasons why Penn should accept her fate and resign without damaging the president’s agenda, Kate responds with a telling line. “What do you think my husband would do if it was him?” she says to Penn. “Would he quit?”\u003c/p>\n\u003cp>The answer — that Hal naturally assumes the benefits he brings would outweigh any political cost — neatly outlines the specter of sexism which hangs over \u003cem>The Diplomat\u003c/em>. In a world free from that particular “ism,” you get the sense these women would actually occupy the seats of power, instead of acting as backseat drivers for the men who do.\u003c/p>\n\u003ch3>Complicated plots that pay off\u003c/h3>\n\u003cp>Compelling as all of this is, the plot gets even more complicated in the second season, as Kate and her team begin to sort what really happened in both the warship attack and the car bomb. New viewers trying to jump into the series now could be thoroughly confused — best to make sure you know the events of the first season before joining in for the second.\u003c/p>\n\u003cp>But once acclimated, you can sit back and enjoy a story set in a political universe where expertise is valued, competition plays out like a protracted, 3D chess game and several staffers caught in the middle truly believe in the possibility of using their offices to make life better for everyone.\u003c/p>\n\u003cp>Who knew a visceral, fast-paced series about a global political conspiracy could also — thanks to the terrible state of our real-world political clashes — feel like something of a fantasy?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 2 of ‘The Diplomat’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Netflix’s \u003cem>The Diplomat\u003c/em> offers a different vision of politics: one where sharp staffers are often the backseat drivers in government, and many of those involved are truly interested in improving lives — even when they do awful things along the way.\u003c/p>\n\u003cp>That’s the universe Netflix’s series thrives in, where \u003cem>The Americans\u003c/em> alum Keri Russell plays a hard-nosed, practical mid-level diplomat suddenly elevated to serve as ambassador to Britain, amid plans to groom her to become America’s next vice president.\u003c/p>\n\u003ch3>Starting season two with a bang\u003c/h3>\n\u003cp>As the show’s second season kicks off, Russell’s Ambassador Kate Wyler is dealing with the aftermath of a cliffhanger that ended the first season. Her husband — former ambassador Hal Wyler — along with her deputy, Stuart Hayford and another aide were caught in the blast of a car bomb while trying to meet with an official from the British government.\u003c/p>\n\u003cp>The official may have had information about who really initiated a deadly attack against a British aircraft carrier from the first season. But instead of learning more, Kate’s husband and two members of her staff were caught in another attack.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While British and American officials scamper to figure out exactly what happened, we see \u003cem>The Diplomat \u003c/em>ride a delicious, compelling line between serving up hefty slices of political drama and revealing the mournful humanity of co-workers trying to recover from a massively traumatic event.\u003c/p>\n\u003cp>Every performance here is golden. Rory Kinnear is particularly excellent as an egotistical blowhard of a British Prime minister, Nicol Trowbridge. Ali Ahn, currently earning raves for her performance as a witch on Disney+’s \u003cem>Agatha All Along\u003c/em>, shines here as CIA station chief Eidra Park — trying to offer savvy, effective support to Kate while not-so-secretly fretting about Kate’s deputy Stuart, with whom she had a relationship.\u003c/p>\n\u003cp>Rufus Sewell is magnetic as Kate’s husband Hal; she suspects he sees her ascension to vice president as his best route back to power, but he insists otherwise, testing their relationship. David Gyasi plays U.K. foreign secretary Austin Dennison as a precise-yet-passionate power player, focused on doing the right thing for Britain, even as he grows closer to Kate and her marriage frays.\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/J49VymjKJ8w'\n title='//www.youtube.com/embed/J49VymjKJ8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it’s not until \u003cem>West Wing\u003c/em> alum Allison Janney arrives as current Vice President Grace Penn that we see the show’s drama really come alive. As a brilliant vice president who may be forced to step down because of a financial scandal involving her husband, Penn excels at maneuvering others into doing what she wants while leaving them convinced it was all their idea.\u003c/p>\n\u003cp>Some may have been concerned that Janney is playing a souped-up version of her \u003cem>West Wing \u003c/em>character, White House staffer C.J. Cregg. But ultimately, they don’t have much in common beyond a habit of speaking directly and a predilection for pantsuits.\u003c/p>\n\u003cfigure id=\"attachment_13967597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png\" alt=\"A middle aged woman with a blond bob stands, arms crossed, in front of a stately home. She is wearing a dark red pantsuit.\" width=\"2000\" height=\"1351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1920x1297.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as Vice President Grace Penn. \u003ccite>(Alex Bailey/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A show centered on smart women leading\u003c/h3>\n\u003cp>What both of Janney’s characters do have in common, however, is that they are accomplished, effective women — making a difference in environments where their talents and achievements are often underestimated or overlooked.\u003c/p>\n\u003cp>Indeed, several storylines in \u003cem>The Diplomat \u003c/em>revolve around smart women deftly guiding powerful men into making better decisions than they could manage on their own. These men aren’t complete idiots, but also are not as smart as they believe — especially Trowbridge, a vociferous bully who leans heavily on several sharp-thinking women, including his wife.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a particularly pointed exchange, as Hal notes all the humiliating reasons why Penn should accept her fate and resign without damaging the president’s agenda, Kate responds with a telling line. “What do you think my husband would do if it was him?” she says to Penn. “Would he quit?”\u003c/p>\n\u003cp>The answer — that Hal naturally assumes the benefits he brings would outweigh any political cost — neatly outlines the specter of sexism which hangs over \u003cem>The Diplomat\u003c/em>. In a world free from that particular “ism,” you get the sense these women would actually occupy the seats of power, instead of acting as backseat drivers for the men who do.\u003c/p>\n\u003ch3>Complicated plots that pay off\u003c/h3>\n\u003cp>Compelling as all of this is, the plot gets even more complicated in the second season, as Kate and her team begin to sort what really happened in both the warship attack and the car bomb. New viewers trying to jump into the series now could be thoroughly confused — best to make sure you know the events of the first season before joining in for the second.\u003c/p>\n\u003cp>But once acclimated, you can sit back and enjoy a story set in a political universe where expertise is valued, competition plays out like a protracted, 3D chess game and several staffers caught in the middle truly believe in the possibility of using their offices to make life better for everyone.\u003c/p>\n\u003cp>Who knew a visceral, fast-paced series about a global political conspiracy could also — thanks to the terrible state of our real-world political clashes — feel like something of a fantasy?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 2 of ‘The Diplomat’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Musical, Pulpy Crime Thriller, ‘Emilia Pérez’ Swings for the Fences",
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"content": "\u003cp>There is so much going on in \u003cem>Emilia Pérez\u003c/em>, the audacious musical/melodrama/crime-thriller from filmmaker Jacques Audiard, it’s impossible not to appreciate the sheer ambition of it all.\u003c/p>\n\u003cp>There is obvious craft and moments of true transcendence, beauty and horror. Set around Mexico City, this is a movie about family, about ambition, about the possibility of change, cartels, human disappearances, gender-affirmation, money and corruption.\u003c/p>\n\u003cp>[aside postid='arts_13967226']Sometimes the characters break into fantastical musical numbers: Some are filled with rage, others with joy and hope. Other times the songs come out in barely a whisper. And yet even with all that life and color and passion on screen, there’s a distinct rift between all those big emotions that the characters are cycling through and what the audience is feeling, which is practically nothing. It’s almost as if \u003cem>Emilia Pérez\u003c/em> forgot to invite us along for the ride.\u003c/p>\n\u003cp>And it is quite a ride: One day a cartel boss named Manitas (Karla Sofía Gascón) has a smart, but undervalued lawyer Rita Mora Castro (Zoe Saldaña) kidnapped. Manitas wants gender confirmation surgery, and for Rita to handle the logistics: Hiring the discreet surgeon, faking Manitas’ death and transporting the wife, Jessi (Selena Gomez) and two kids to their new home in Switzerland. In return, Rita will get rich. Somehow, this is only the first act.\u003c/p>\n\u003cp>Four years later, Rita’s gotten a glow up. Gone are her bush eyebrows and frumpy suit, replaced with the kind of grooming only money and genetics like Saldaña’s can produce. And she’s leading a cosmopolitan life in London, something that we get to see all too briefly, when she meets another woman who’s gone through a major transformation, Emilia Pérez (Gascón).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4h7j_EcZ5fU\u003c/p>\n\u003cp>Audiard plays briefly with the idea that Rita assumes Emilia is there to kill her, to rid the world of any remaining evidence of those who know what happened. In actuality, she just misses her kids and wants them back in Mexico to live with her. It’s up to Rita to get them to move once more, in with Emilia, posing as an aunt they’ve never met before if you’re wondering where all those \u003cem>Mrs. Doubtfire\u003c/em> comparisons come into play. (The bloody \u003cem>Sicario\u003c/em> stuff is yet to come).\u003c/p>\n\u003cp>Saldaña lends a captivating fierceness to Rita, despite being a terribly underwritten character. It’s strange to spend so much time with someone and feel entirely detached from who they are and what they want. She just follows others around, a receptacle for everyone else’s decisions with little arc or agency of her own.\u003c/p>\n\u003cp>[aside postid='arts_13967410']Early on in the film Rita debates (in song) with a plastic surgeon in Hong Kong about whether or not changing the body has any effect on the soul. He doesn’t think so. She does, and even goes a step further, singing “changing the soul changes society, changing society changes everything.” It’s a lovely idea that the film handles clumsily in its maximalist, go-for-broke way that values massive set-pieces and high drama over authentic emotion.\u003c/p>\n\u003cp>At first Emilia seems entirely changed, no longer the vindictive, jealous, violent cartel leader she once was. She is soft spoken, empathetic and happy. She starts a foundation to find all the disappeared people and give their families the chance of a proper burial and farewell. She even finds love. And yet she can’t handle watching Jessi move on. It’s the stuff of soap operas — and not necessarily the fun ones. Here, it could even read as dangerously reductive.\u003c/p>\n\u003cp>Jessi sometimes feels like she’s part of an entirely different film, or rather a music video that seems to be paying homage somehow to Pedro Almodóvar, David Lynch and Robert Rodriguez. It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis. After all those big ideas, all those grand themes and genre-subverting gestures, we’re left with shockingly little to hold on to.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Emilia Pérez’ is released nationwide on Nov. 1, 2024. The movie begins streaming on Netflix on Nov. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sometimes the characters break into fantastical musical numbers: Some are filled with rage, others with joy and hope. Other times the songs come out in barely a whisper. And yet even with all that life and color and passion on screen, there’s a distinct rift between all those big emotions that the characters are cycling through and what the audience is feeling, which is practically nothing. It’s almost as if \u003cem>Emilia Pérez\u003c/em> forgot to invite us along for the ride.\u003c/p>\n\u003cp>And it is quite a ride: One day a cartel boss named Manitas (Karla Sofía Gascón) has a smart, but undervalued lawyer Rita Mora Castro (Zoe Saldaña) kidnapped. Manitas wants gender confirmation surgery, and for Rita to handle the logistics: Hiring the discreet surgeon, faking Manitas’ death and transporting the wife, Jessi (Selena Gomez) and two kids to their new home in Switzerland. In return, Rita will get rich. Somehow, this is only the first act.\u003c/p>\n\u003cp>Four years later, Rita’s gotten a glow up. Gone are her bush eyebrows and frumpy suit, replaced with the kind of grooming only money and genetics like Saldaña’s can produce. And she’s leading a cosmopolitan life in London, something that we get to see all too briefly, when she meets another woman who’s gone through a major transformation, Emilia Pérez (Gascón).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Early on in the film Rita debates (in song) with a plastic surgeon in Hong Kong about whether or not changing the body has any effect on the soul. He doesn’t think so. She does, and even goes a step further, singing “changing the soul changes society, changing society changes everything.” It’s a lovely idea that the film handles clumsily in its maximalist, go-for-broke way that values massive set-pieces and high drama over authentic emotion.\u003c/p>\n\u003cp>At first Emilia seems entirely changed, no longer the vindictive, jealous, violent cartel leader she once was. She is soft spoken, empathetic and happy. She starts a foundation to find all the disappeared people and give their families the chance of a proper burial and farewell. She even finds love. And yet she can’t handle watching Jessi move on. It’s the stuff of soap operas — and not necessarily the fun ones. Here, it could even read as dangerously reductive.\u003c/p>\n\u003cp>Jessi sometimes feels like she’s part of an entirely different film, or rather a music video that seems to be paying homage somehow to Pedro Almodóvar, David Lynch and Robert Rodriguez. It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis. After all those big ideas, all those grand themes and genre-subverting gestures, we’re left with shockingly little to hold on to.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Emilia Pérez’ is released nationwide on Nov. 1, 2024. The movie begins streaming on Netflix on Nov. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13965097\" class=\"wp-caption aligncenter\" style=\"max-width: 1701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965097\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466.jpg\" alt=\"\" width=\"1701\" height=\"1506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466.jpg 1701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466-800x708.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466-1020x903.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466-768x680.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466-1536x1360.jpg 1536w\" sizes=\"auto, (max-width: 1701px) 100vw, 1701px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley is full of economic contradictions and diverse identities. Throughout the year, events like Mexican Independence Day (above) showcase the array of immigrant enclaves that reside in the tech capital. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/siliconvalleyunseen\">Silicon Valley Unseen\u003c/a> is a series of photo essays, original reporting and underreported histories that survey the tech capital’s overlooked communities and subcultures from a local perspective.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]F[/dropcap]or most of my life, when someone’s asked where I’m from, I’ve avoided saying “Silicon Valley.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, I’ve opted for a term more representative of my Bay Area upbringing: the South Bay. “Silicon Valley” and all it connotes is just too one-dimensional, too narrow-minded to hold the layered realities that have shaped my community.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.computerhistory.org/revolution/digital-logic/12/328/1401\">\u003cspan style=\"font-weight: 400\">The name Silicon Valley dates back to 1971, when journalist Don Hoefler coined it\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in a series about Santa Clara County’s booming semiconductor industry. In the decades since, its promise has been lionized worldwide.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To outsiders, Silicon Valley is seen as the world’s biggest gold mine in the digital age. Whereas the pick-and-axe Gold Rush once attracted runaways and rogues westward in the mid-1800s, this tech boom signaled white collar excellence and limitless profiteering laced with uber-innovative thinking — a modern algorithm that has spawned replicas in Tel Aviv, London, Austin and Zhongguancun.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But this pristine, mainstream portrayal blithely ignores its de facto caste system. For every office building, there are tireless custodians who stay after hours to clean up, and security guards whose shifts begin at midnight. At local parks, groups of Spanish-speaking nannies gather while raising tech workers’ children. Silicon Valley is where you’ll see a scissor-door Lamborghini casually parked in a bland strip mall — right next to an Uber food delivery driver in a Toyota with a missing front bumper.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965091\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965091\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley is often depicted as a monolithic capital of wealth and tech innovation, but the region has some of the highest rates of homelessness and wealth disparities in the nation. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the son of Mexican immigrants, I’ve spent decades trying to understand the reverence others project onto my imperfect hometown. I’m someone who grew up surrounded by these privileges yet still fell through the institutional cracks.\u003c/p>\n\u003cp>I went to a high school where some students lived in the hills and sported a rotation of BMWs and Mercedes, while others lived with eight undocumented family members doing their best to get by on minimum wage and avoid deportation. I observed these disparities as someone in the middle, with access to both worlds. Constantly toggling between extremes warped my sense of place. I eventually gravitated towards graffiti, attended community college and read up on the Black Panther Party.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2007, I left Mountain View (now known as the home of Google) for Berkeley in pursuit of art, education and personal growth. I eventually exited California entirely, and never planned on returning to Silicon Valley. But recently I moved back to my old neighborhood, right next to Highway 101 and Moffett Field. And the changes are enormous.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965095\" class=\"wp-caption alignnone\" style=\"max-width: 1244px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965095\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screen-Shot-2024-09-18-at-12.22.04-PM.png\" alt=\"\" width=\"1244\" height=\"908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screen-Shot-2024-09-18-at-12.22.04-PM.png 1244w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screen-Shot-2024-09-18-at-12.22.04-PM-800x584.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screen-Shot-2024-09-18-at-12.22.04-PM-1020x745.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screen-Shot-2024-09-18-at-12.22.04-PM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screen-Shot-2024-09-18-at-12.22.04-PM-768x561.png 768w\" sizes=\"auto, (max-width: 1244px) 100vw, 1244px\">\u003cfigcaption class=\"wp-caption-text\">The author Alan Chazaro (left) stands with Knuckles (middle) and R.J. (right) during a graffiti outing in Mountain View, circa 2006. Knuckles still lives in Mountain View, as one of the only remaining families in the neighborhood from that time. R.J. has since passed away.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gone are any bounce houses and taco trucks; any lowrider bikes and tinted windows on low-sitting Lexuses and Mustangs; any \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=AWf-sL1LFjE\">\u003cspan style=\"font-weight: 400\">aspiring Chicano rappers at the nearby park\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">; any Samoan, Vietnamese and Filipino house parties. They’ve mostly been replaced by empty holograms and dollar signs. There isn’t much space and affordability for anything else these days, it seems.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Headlines about my hometown make it seem like the world’s biggest capitalist theme park rather than an actual community of everyday people: “\u003c/span>\u003ca href=\"https://www.theguardian.com/technology/2019/apr/30/silicon-valley-wealth-second-richest-country-world-earth\">\u003cspan style=\"font-weight: 400\">If Silicon Valley Were a Country, It Would Be Among the Richest on Earth\u003c/span>\u003c/a>.” “\u003ca href=\"https://sfstandard.com/2024/07/28/kid-parties-silicon-valley-entertainers/\">\u003cspan style=\"font-weight: 400\">Inside the Opulent World of Six-Figure Kids Birthday Parties in Silicon Valley.\u003c/span>\u003c/a>” “\u003ca href=\"https://www.wired.com/2017/05/apple-park-new-silicon-valley-campus/\">\u003cspan style=\"font-weight: 400\">Inside Apple’s Insanely Great (or Just Insane) New Mothership\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Who gets to tell stories about Silicon Valley? And what do those stories reveal about who we really are? Perhaps more than ever, as the architectures of displacement continue to spread in every direction and the ongoing tides of entities like OpenAI encroach, there’s an urgency for preservation. For humanized connection.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week on KQED, local activists, small business owners, car club enthusiasts, photographers, reporters, poets, filmmakers, rappers, radio hosts and longtime community members will converge to share our homegrown views about Silicon Valley — in our own words.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For too long, our region’s ordinary beauties and people have gone unseen.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13965311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]M[/dropcap]y dad never goes to San Francisco’s Mission or Oakland’s Fruitvale — two of Northern California’s most celebrated Mexican and Central American neighborhoods — to order his favorite pupusas. He doesn’t have to.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His pupusas of choice are served by a Salvadoran woman who lives on a tree-lined suburban cul-de-sac in Mountain View.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965092\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965092\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">There are many food vendors in Silicon Valley who set up their operations in front yards, public parks and parking lots. From pupusas to tacos, you’ll find a rich supply of immigrant dishes being served in unlikely locations. This particular taquero immigrated from Mexico City and serves al pastor tacos during local soccer games in Sunnyvale. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In front of a shanty home that remains as a vestige from \u003c/span>\u003ca href=\"https://fortheloveofapricots.com/2016/07/valley-of-hearts-delight/\">\u003cspan style=\"font-weight: 400\">the South Bay’s centuries of fruit orchard prominence\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, this señora slangs distinctly Salvadoran staples: pupusas, curtido, salsa roja, frijoles and arroz. Her offerings aren’t particularly creative, and she’s not the kind of trendy, underground TikTok food celebrity that attracts buzzing lines.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Primarily, she’s simply trying to survive the economic reality of Silicon Valley, a land where some people own Cybertrucks, and others ride public transit and help assemble Teslas in nearby factories. Silicon Valley isn’t the attractive, vibrant center of a major metropolis. It’s \u003c/span>\u003cspan style=\"font-weight: 400\">a \u003c/span>\u003ca href=\"https://twitter.com/mocutobi/status/1790549460562628764\">\u003cspan style=\"font-weight: 400\">sleepy stretch of homes that resemble just about any other suburb in the country\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, except that property values are measured by the multi-millions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is the largest centrifugal cluster of moguldom on the planet. Google, Apple, Uber, Facebook, Waymo, LinkedIn, Netflix and Lockheed Martin are all within 15 miles from my front door. These surrounding corporations — rather than the hardworking residents who live here — are what get cared for and invested in.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965094\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965094\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ignacio Chazaro immigrated from Mexico to the San Francisco Bay Area in 1976 without a high school education. Within a decade, he was hired as a mechanical designer in Menlo Park, part of what journalist Don Hoefler in 1971 termed “Silicon Valley USA” due to the region’s booming semiconductor industry. \u003ccite>(Courtesy Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our pupusera prepares her homemade meals in a gravel driveway near a Google satellite campus, right beside a parked trailer where an immigrant Honduran handyman lives because rent in this zip code is too expensive to afford an actual bedroom. (The renovated house across the street from the pupusera is now valued at just shy of $4 million).\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My dad arrived in the San Francisco Peninsula from Mexico as a middle school dropout. Like so many who cross the border into the United States, he sought opportunity. He enrolled at College of San Mateo while working nights as a restaurant cook near campus; miraculously, he managed to complete a program in mechanical design. My dad had known nothing about it, only that a recruiter from a nearby company visited his class and a counselor had encouraged him to sign up. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965100\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965100\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Alan Chazaro’s son, Maceo, explores the San Jose Flea Market, where the author often visited while growing up.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to that, my dad, Nacho, was a free-floating hippie. By all accounts — from stories I’ve heard and photos I’ve unearthed — he was a marijuana-loving, laissez-faire artist who rocked a Mexican afro and wore a leather vest. A man who’d wandered off from a family of 12 siblings in Veracruz to chase something — anything — somewhere else. He’d never used or seen a computer before. In a recent conversation, when I asked what his plan had been upon reaching California, he told me he didn’t have one.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That all changed in Silicon Valley. Due to the fateful intersection of time, place and skills, my dad landed a gig in the early tech workforce as someone who could sketch detailed computer parts by hand. (He worked for a company that no longer exists, inside a building that has since been converted into Facebook’s headquarters). Back then, computer parts were drafted by pencil as illustrations. If there’s one thing my dad could do, it was drawing. Nearly four decades later, he does similar work, though he uses a computer now. It pays the bills, he enjoys it, and he never complains. I admire him for being able to plug into the system and reap the rewards of his immigrant scrappiness. By those metrics, he crushed it in life.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Plus, his life in tech has provided me and my older brother with invaluable tools. I remember when my dad got a computer at our first apartment, back in the days of floppy discs and MS-DOS in the mid-’90s. At the time, I thought it was part of normal childhood. Looking back, it’s clear I grew up with immediate access to technologies that my peers would later come to depend upon and even worship. It was a perk of being inside Silicon Valley, if only on the cultural fringes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Try to imagine an unqualified Mexican immigrant waltzing into Silicon Valley for a lifelong career in tech these days. That backdoor has since been locked.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13965311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]D[/dropcap]irt bikers popping twelve-o’clock wheelies at rush hour. That’s what you might see in East Palo Alto (EPA) — a redlined city off the eastern ramp of Highway 101, whose primary street leads directly to Stanford’s finely manicured campus. As one of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Silicon Valley Unseen’\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">s eight collaborators, \u003c/span>\u003ca href=\"https://www.instagram.com/hourvoyses/\">\u003cspan style=\"font-weight: 400\">EPA-raised photographer Darius Riley\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> rides around on his skateboard, capturing local sights and faces. He provides a glimpse into this ever-evolving community historically alienated from Silicon Valley.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Across the Dumbarton Bridge from EPA, you’ll find Fremont. The city marks the northeasternmost edge of Silicon Valley, home to a host of tech companies, including Tesla. More importantly, it’s a tranquil suburb known for its Indian cuisine, Afghan community and high-ranking safety. Recently, Fremont has provided the setting for popular films like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dìdi \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Fremont\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. East Bay journalist \u003c/span>\u003ca href=\"https://www.instagram.com/soup_.y/\">\u003cspan style=\"font-weight: 400\">Supriya Yelimeli\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> dives into it all in a reflection on her own upbringing as a first-generation Indian American in the country’s “happiest city.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965093\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965093\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Contributing journalist, Supriya Yelimeli, grew up in Fremont during a time of rapid expansion. Here she is pictured riding BART with her family members. \u003ccite>(Courtesy Supriya Yelimeli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">From there, you’ll hop on 880, swerving past Union City and Milpitas toward the aortic valve of Silicon Valley: San Jose. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Shark City” has multiple regions — East Side, West Side and South — each an ecosystem unto itself. In Japantown, you’ll hear from the Vietnamese American owner of \u003c/span>\u003ca href=\"https://www.instagram.com/classicloot/\">\u003cspan style=\"font-weight: 400\">a clothing boutique\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about what defines her sense of Silicon Valley fashion (and where to thrift shop). On San Jose’s East Side, you’ll meet folks like \u003c/span>\u003ca href=\"https://www.instagram.com/jiggyjoefresco/\">\u003cspan style=\"font-weight: 400\">Jiggy Joe Fresco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and Pro Tribe’s \u003c/span>\u003ca href=\"https://www.instagram.com/tribe_general/\">\u003cspan style=\"font-weight: 400\">Stretch\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. As \u003c/span>\u003ca href=\"https://www.instagram.com/ogpenn/\">\u003cspan style=\"font-weight: 400\">KQED reporter Pendarvis Harshaw\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> learns over the span of his ride-alongs, the 408’s rap hustle parallels what he has seen in his own community in East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/alexknowbody/\">\u003cspan style=\"font-weight: 400\">Alex Knowbody\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> takes over from there. A Mexican American photographer who spends his weekends at PayPal Park — home to the Bay Area’s only professional soccer clubs, the Earthquakes and Bay FC — he embraces the area’s fútbol passions. His photos reveal the sport’s deep legacy, proving Silicon Valley has long been an underrated hotbed for U.S. soccer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Coming back up 101, crossing 237 (sorry, Cupertino and Campbell), you’ll zing past Alvarado and Santa Clara to reach Sunnyvale, home of \u003c/span>\u003ca href=\"https://www.instagram.com/duenascarclub/?hl=en\">\u003cspan style=\"font-weight: 400\">Dueñas, an all-women’s lowrider club\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The group’s founder Angel tells us how it all started, and why Silicon Valley is the undisputed lowrider mecca.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965099\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965099\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dueñas are an all-women lowrider club based in Silicon Valley. Here, they pulled into a strip mall and turned heads from every passersby. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Your last stop is in Mountain View, where \u003c/span>\u003ca href=\"https://www.instagram.com/_gbizness/\">\u003cspan style=\"font-weight: 400\">KMEL’s hip-hop radio host G-Biz\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> moved after growing up in East Palo Alto. At one point, Gary and I were neighbors, and attended the same high school. He explains what the area means to him and his family after they moved from Arkansas.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And me? I went back to a 47-year-old Iranian market that has flourished near downtown Mountain View since my childhood. After being forced out of business for a few years, Rose Market is still supplying some of the best lahori chicken and basmati rice with saffron and zereshk. I weigh in on what they’ve meant to me, and hear from nearby \u003c/span>\u003ca href=\"https://www.instagram.com/mohammad.earth/?hl=en\">\u003cspan style=\"font-weight: 400\">Iranian American filmmaker Mohammed Gorjestani\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about both the importance and shortcomings of immigrant nostalgia.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965090\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A teenager shows off his motor bike in East Palo Alto, a city that has often been overlooked in the heart of Silicon Valley. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To be born and bred in Silicon Valley is not to be enamored or mesmerized by it. On the contrary, it’s to be at once skeptical and open-hearted; to remain simultaneously inspired and disillusioned. It’s to understand that while this region has been the site of so many life-altering tech trends, it has obscured — if not completely dismissed — everyone doing the day-to-day working and living underneath it all.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m from here. We all are. And in the mighty words of Alex Knowbody: “There was a culture here before tech, and there will be a culture here after it, too.”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13965097\" class=\"wp-caption aligncenter\" style=\"max-width: 1701px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965097\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466.jpg\" alt=\"\" width=\"1701\" height=\"1506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466.jpg 1701w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466-800x708.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466-1020x903.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466-768x680.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MexicanIndep_2024_Preview2-scaled-e1726774232466-1536x1360.jpg 1536w\" sizes=\"auto, (max-width: 1701px) 100vw, 1701px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley is full of economic contradictions and diverse identities. Throughout the year, events like Mexican Independence Day (above) showcase the array of immigrant enclaves that reside in the tech capital. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>KQED’s \u003ca href=\"https://www.kqed.org/siliconvalleyunseen\">Silicon Valley Unseen\u003c/a> is a series of photo essays, original reporting and underreported histories that survey the tech capital’s overlooked communities and subcultures from a local perspective.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>or most of my life, when someone’s asked where I’m from, I’ve avoided saying “Silicon Valley.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, I’ve opted for a term more representative of my Bay Area upbringing: the South Bay. “Silicon Valley” and all it connotes is just too one-dimensional, too narrow-minded to hold the layered realities that have shaped my community.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.computerhistory.org/revolution/digital-logic/12/328/1401\">\u003cspan style=\"font-weight: 400\">The name Silicon Valley dates back to 1971, when journalist Don Hoefler coined it\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in a series about Santa Clara County’s booming semiconductor industry. In the decades since, its promise has been lionized worldwide.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To outsiders, Silicon Valley is seen as the world’s biggest gold mine in the digital age. Whereas the pick-and-axe Gold Rush once attracted runaways and rogues westward in the mid-1800s, this tech boom signaled white collar excellence and limitless profiteering laced with uber-innovative thinking — a modern algorithm that has spawned replicas in Tel Aviv, London, Austin and Zhongguancun.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But this pristine, mainstream portrayal blithely ignores its de facto caste system. For every office building, there are tireless custodians who stay after hours to clean up, and security guards whose shifts begin at midnight. At local parks, groups of Spanish-speaking nannies gather while raising tech workers’ children. Silicon Valley is where you’ll see a scissor-door Lamborghini casually parked in a bland strip mall — right next to an Uber food delivery driver in a Toyota with a missing front bumper.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965091\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965091\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF6100-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Silicon Valley is often depicted as a monolithic capital of wealth and tech innovation, but the region has some of the highest rates of homelessness and wealth disparities in the nation. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the son of Mexican immigrants, I’ve spent decades trying to understand the reverence others project onto my imperfect hometown. I’m someone who grew up surrounded by these privileges yet still fell through the institutional cracks.\u003c/p>\n\u003cp>I went to a high school where some students lived in the hills and sported a rotation of BMWs and Mercedes, while others lived with eight undocumented family members doing their best to get by on minimum wage and avoid deportation. I observed these disparities as someone in the middle, with access to both worlds. Constantly toggling between extremes warped my sense of place. I eventually gravitated towards graffiti, attended community college and read up on the Black Panther Party.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2007, I left Mountain View (now known as the home of Google) for Berkeley in pursuit of art, education and personal growth. I eventually exited California entirely, and never planned on returning to Silicon Valley. But recently I moved back to my old neighborhood, right next to Highway 101 and Moffett Field. And the changes are enormous.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965095\" class=\"wp-caption alignnone\" style=\"max-width: 1244px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965095\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screen-Shot-2024-09-18-at-12.22.04-PM.png\" alt=\"\" width=\"1244\" height=\"908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screen-Shot-2024-09-18-at-12.22.04-PM.png 1244w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screen-Shot-2024-09-18-at-12.22.04-PM-800x584.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screen-Shot-2024-09-18-at-12.22.04-PM-1020x745.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screen-Shot-2024-09-18-at-12.22.04-PM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screen-Shot-2024-09-18-at-12.22.04-PM-768x561.png 768w\" sizes=\"auto, (max-width: 1244px) 100vw, 1244px\">\u003cfigcaption class=\"wp-caption-text\">The author Alan Chazaro (left) stands with Knuckles (middle) and R.J. (right) during a graffiti outing in Mountain View, circa 2006. Knuckles still lives in Mountain View, as one of the only remaining families in the neighborhood from that time. R.J. has since passed away.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gone are any bounce houses and taco trucks; any lowrider bikes and tinted windows on low-sitting Lexuses and Mustangs; any \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=AWf-sL1LFjE\">\u003cspan style=\"font-weight: 400\">aspiring Chicano rappers at the nearby park\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">; any Samoan, Vietnamese and Filipino house parties. They’ve mostly been replaced by empty holograms and dollar signs. There isn’t much space and affordability for anything else these days, it seems.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Headlines about my hometown make it seem like the world’s biggest capitalist theme park rather than an actual community of everyday people: “\u003c/span>\u003ca href=\"https://www.theguardian.com/technology/2019/apr/30/silicon-valley-wealth-second-richest-country-world-earth\">\u003cspan style=\"font-weight: 400\">If Silicon Valley Were a Country, It Would Be Among the Richest on Earth\u003c/span>\u003c/a>.” “\u003ca href=\"https://sfstandard.com/2024/07/28/kid-parties-silicon-valley-entertainers/\">\u003cspan style=\"font-weight: 400\">Inside the Opulent World of Six-Figure Kids Birthday Parties in Silicon Valley.\u003c/span>\u003c/a>” “\u003ca href=\"https://www.wired.com/2017/05/apple-park-new-silicon-valley-campus/\">\u003cspan style=\"font-weight: 400\">Inside Apple’s Insanely Great (or Just Insane) New Mothership\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Who gets to tell stories about Silicon Valley? And what do those stories reveal about who we really are? Perhaps more than ever, as the architectures of displacement continue to spread in every direction and the ongoing tides of entities like OpenAI encroach, there’s an urgency for preservation. For humanized connection.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week on KQED, local activists, small business owners, car club enthusiasts, photographers, reporters, poets, filmmakers, rappers, radio hosts and longtime community members will converge to share our homegrown views about Silicon Valley — in our own words.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For too long, our region’s ordinary beauties and people have gone unseen.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13965311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>y dad never goes to San Francisco’s Mission or Oakland’s Fruitvale — two of Northern California’s most celebrated Mexican and Central American neighborhoods — to order his favorite pupusas. He doesn’t have to.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His pupusas of choice are served by a Salvadoran woman who lives on a tree-lined suburban cul-de-sac in Mountain View.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965092\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965092\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/IMG_6313-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">There are many food vendors in Silicon Valley who set up their operations in front yards, public parks and parking lots. From pupusas to tacos, you’ll find a rich supply of immigrant dishes being served in unlikely locations. This particular taquero immigrated from Mexico City and serves al pastor tacos during local soccer games in Sunnyvale. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In front of a shanty home that remains as a vestige from \u003c/span>\u003ca href=\"https://fortheloveofapricots.com/2016/07/valley-of-hearts-delight/\">\u003cspan style=\"font-weight: 400\">the South Bay’s centuries of fruit orchard prominence\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, this señora slangs distinctly Salvadoran staples: pupusas, curtido, salsa roja, frijoles and arroz. Her offerings aren’t particularly creative, and she’s not the kind of trendy, underground TikTok food celebrity that attracts buzzing lines.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Primarily, she’s simply trying to survive the economic reality of Silicon Valley, a land where some people own Cybertrucks, and others ride public transit and help assemble Teslas in nearby factories. Silicon Valley isn’t the attractive, vibrant center of a major metropolis. It’s \u003c/span>\u003cspan style=\"font-weight: 400\">a \u003c/span>\u003ca href=\"https://twitter.com/mocutobi/status/1790549460562628764\">\u003cspan style=\"font-weight: 400\">sleepy stretch of homes that resemble just about any other suburb in the country\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, except that property values are measured by the multi-millions.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is the largest centrifugal cluster of moguldom on the planet. Google, Apple, Uber, Facebook, Waymo, LinkedIn, Netflix and Lockheed Martin are all within 15 miles from my front door. These surrounding corporations — rather than the hardworking residents who live here — are what get cared for and invested in.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965094\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965094\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Pa2-1920x1279.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Ignacio Chazaro immigrated from Mexico to the San Francisco Bay Area in 1976 without a high school education. Within a decade, he was hired as a mechanical designer in Menlo Park, part of what journalist Don Hoefler in 1971 termed “Silicon Valley USA” due to the region’s booming semiconductor industry. \u003ccite>(Courtesy Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our pupusera prepares her homemade meals in a gravel driveway near a Google satellite campus, right beside a parked trailer where an immigrant Honduran handyman lives because rent in this zip code is too expensive to afford an actual bedroom. (The renovated house across the street from the pupusera is now valued at just shy of $4 million).\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My dad arrived in the San Francisco Peninsula from Mexico as a middle school dropout. Like so many who cross the border into the United States, he sought opportunity. He enrolled at College of San Mateo while working nights as a restaurant cook near campus; miraculously, he managed to complete a program in mechanical design. My dad had known nothing about it, only that a recruiter from a nearby company visited his class and a counselor had encouraged him to sign up. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965100\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965100\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-scaled.jpg\" alt=\"\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/BE029B9D-ED7C-4944-836B-56A285F04628-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Alan Chazaro’s son, Maceo, explores the San Jose Flea Market, where the author often visited while growing up.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to that, my dad, Nacho, was a free-floating hippie. By all accounts — from stories I’ve heard and photos I’ve unearthed — he was a marijuana-loving, laissez-faire artist who rocked a Mexican afro and wore a leather vest. A man who’d wandered off from a family of 12 siblings in Veracruz to chase something — anything — somewhere else. He’d never used or seen a computer before. In a recent conversation, when I asked what his plan had been upon reaching California, he told me he didn’t have one.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That all changed in Silicon Valley. Due to the fateful intersection of time, place and skills, my dad landed a gig in the early tech workforce as someone who could sketch detailed computer parts by hand. (He worked for a company that no longer exists, inside a building that has since been converted into Facebook’s headquarters). Back then, computer parts were drafted by pencil as illustrations. If there’s one thing my dad could do, it was drawing. Nearly four decades later, he does similar work, though he uses a computer now. It pays the bills, he enjoys it, and he never complains. I admire him for being able to plug into the system and reap the rewards of his immigrant scrappiness. By those metrics, he crushed it in life.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Plus, his life in tech has provided me and my older brother with invaluable tools. I remember when my dad got a computer at our first apartment, back in the days of floppy discs and MS-DOS in the mid-’90s. At the time, I thought it was part of normal childhood. Looking back, it’s clear I grew up with immediate access to technologies that my peers would later come to depend upon and even worship. It was a perk of being inside Silicon Valley, if only on the cultural fringes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Try to imagine an unqualified Mexican immigrant waltzing into Silicon Valley for a lifelong career in tech these days. That backdoor has since been locked.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13965311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/SVU.LogoBreak.computer-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">D\u003c/span>\u003c/p>\u003cp>irt bikers popping twelve-o’clock wheelies at rush hour. That’s what you might see in East Palo Alto (EPA) — a redlined city off the eastern ramp of Highway 101, whose primary street leads directly to Stanford’s finely manicured campus. As one of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Silicon Valley Unseen’\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">s eight collaborators, \u003c/span>\u003ca href=\"https://www.instagram.com/hourvoyses/\">\u003cspan style=\"font-weight: 400\">EPA-raised photographer Darius Riley\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> rides around on his skateboard, capturing local sights and faces. He provides a glimpse into this ever-evolving community historically alienated from Silicon Valley.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Across the Dumbarton Bridge from EPA, you’ll find Fremont. The city marks the northeasternmost edge of Silicon Valley, home to a host of tech companies, including Tesla. More importantly, it’s a tranquil suburb known for its Indian cuisine, Afghan community and high-ranking safety. Recently, Fremont has provided the setting for popular films like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Dìdi \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> Fremont\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. East Bay journalist \u003c/span>\u003ca href=\"https://www.instagram.com/soup_.y/\">\u003cspan style=\"font-weight: 400\">Supriya Yelimeli\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> dives into it all in a reflection on her own upbringing as a first-generation Indian American in the country’s “happiest city.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965093\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965093\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/img20240917_12071490-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Contributing journalist, Supriya Yelimeli, grew up in Fremont during a time of rapid expansion. Here she is pictured riding BART with her family members. \u003ccite>(Courtesy Supriya Yelimeli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">From there, you’ll hop on 880, swerving past Union City and Milpitas toward the aortic valve of Silicon Valley: San Jose. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Shark City” has multiple regions — East Side, West Side and South — each an ecosystem unto itself. In Japantown, you’ll hear from the Vietnamese American owner of \u003c/span>\u003ca href=\"https://www.instagram.com/classicloot/\">\u003cspan style=\"font-weight: 400\">a clothing boutique\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about what defines her sense of Silicon Valley fashion (and where to thrift shop). On San Jose’s East Side, you’ll meet folks like \u003c/span>\u003ca href=\"https://www.instagram.com/jiggyjoefresco/\">\u003cspan style=\"font-weight: 400\">Jiggy Joe Fresco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and Pro Tribe’s \u003c/span>\u003ca href=\"https://www.instagram.com/tribe_general/\">\u003cspan style=\"font-weight: 400\">Stretch\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. As \u003c/span>\u003ca href=\"https://www.instagram.com/ogpenn/\">\u003cspan style=\"font-weight: 400\">KQED reporter Pendarvis Harshaw\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> learns over the span of his ride-alongs, the 408’s rap hustle parallels what he has seen in his own community in East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/alexknowbody/\">\u003cspan style=\"font-weight: 400\">Alex Knowbody\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> takes over from there. A Mexican American photographer who spends his weekends at PayPal Park — home to the Bay Area’s only professional soccer clubs, the Earthquakes and Bay FC — he embraces the area’s fútbol passions. His photos reveal the sport’s deep legacy, proving Silicon Valley has long been an underrated hotbed for U.S. soccer.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Coming back up 101, crossing 237 (sorry, Cupertino and Campbell), you’ll zing past Alvarado and Santa Clara to reach Sunnyvale, home of \u003c/span>\u003ca href=\"https://www.instagram.com/duenascarclub/?hl=en\">\u003cspan style=\"font-weight: 400\">Dueñas, an all-women’s lowrider club\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The group’s founder Angel tells us how it all started, and why Silicon Valley is the undisputed lowrider mecca.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965099\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965099\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/CanonPNS_Aug25-41-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dueñas are an all-women lowrider club based in Silicon Valley. Here, they pulled into a strip mall and turned heads from every passersby. \u003ccite>(Alex Knowbody)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Your last stop is in Mountain View, where \u003c/span>\u003ca href=\"https://www.instagram.com/_gbizness/\">\u003cspan style=\"font-weight: 400\">KMEL’s hip-hop radio host G-Biz\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> moved after growing up in East Palo Alto. At one point, Gary and I were neighbors, and attended the same high school. He explains what the area means to him and his family after they moved from Arkansas.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And me? I went back to a 47-year-old Iranian market that has flourished near downtown Mountain View since my childhood. After being forced out of business for a few years, Rose Market is still supplying some of the best lahori chicken and basmati rice with saffron and zereshk. I weigh in on what they’ve meant to me, and hear from nearby \u003c/span>\u003ca href=\"https://www.instagram.com/mohammad.earth/?hl=en\">\u003cspan style=\"font-weight: 400\">Iranian American filmmaker Mohammed Gorjestani\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about both the importance and shortcomings of immigrant nostalgia.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13965090\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/DSCF5132-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A teenager shows off his motor bike in East Palo Alto, a city that has often been overlooked in the heart of Silicon Valley. \u003ccite>(Darius Riley/HOUR VOYSES)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To be born and bred in Silicon Valley is not to be enamored or mesmerized by it. On the contrary, it’s to be at once skeptical and open-hearted; to remain simultaneously inspired and disillusioned. It’s to understand that while this region has been the site of so many life-altering tech trends, it has obscured — if not completely dismissed — everyone doing the day-to-day working and living underneath it all.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m from here. We all are. And in the mighty words of Alex Knowbody: “There was a culture here before tech, and there will be a culture here after it, too.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-dying-father-brings-his-three-daughters-together-in-a-sharply-written-film",
"title": "A Dying Father Brings ‘His Three Daughters’ Together, in a Sharply Written Film",
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"headTitle": "A Dying Father Brings ‘His Three Daughters’ Together, in a Sharply Written Film | KQED",
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"content": "\u003cp>Over the years I’ve seen more than my share of dysfunctional-family movies and terminal-illness movies, and even the good ones have trouble sidestepping clichés. So it says something that \u003cem>His Three Daughters\u003c/em>, which is about a dysfunctional family coping with a terminal illness, doesn’t feel like a retread.\u003c/p>\n\u003cp>The writer-director Azazel Jacobs has a knack for putting a fresh, intelligent spin on familiar material, from the high-school misfit comedy \u003ca href=\"https://www.npr.org/2011/07/05/137501757/terri-a-troubled-teen-moping-in-comfort\">\u003cem>Terri\u003c/em>\u003c/a> to the playful marital drama \u003cem>The Lovers\u003c/em>. His latest, \u003cem>His Three Daughters\u003c/em>, is a sharply written and beautifully modulated chamber piece, set over a few days inside a Lower Manhattan apartment where three women have gathered to bid farewell to their father, Vincent, who’s in hospice care.\u003c/p>\n\u003cp>[aside postid='arts_13964088']C\u003ca href=\"https://www.npr.org/2020/11/24/938685004/carrie-coon-on-the-leftovers-fargo-and-the-nest\">arrie Coon\u003c/a> plays Katie, the oldest of the three sisters. She lives in Brooklyn with her husband and teenage daughter, but she hasn’t been around to visit her dad much lately. \u003ca href=\"https://www.kqed.org/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised\">Elizabeth Olsen\u003c/a> plays the youngest, Christina, who’s flown in from her home thousands of miles away.\u003c/p>\n\u003cp>And then there’s Rachel — that’s \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">Natasha Lyonne\u003c/a>. She lives with Vincent in this apartment and has been looking after him for some time. Rachel is estranged from her two sisters, for reasons that aren’t initially clear. Jacobs drops us right into the thick of the tension, then gradually fills in the larger picture.\u003c/p>\n\u003cp>Some of the friction stems from the fact that Katie and Christina are essentially outsiders on Rachel’s turf. Rachel can claim some moral high ground, since she’s been taking care of their dad while they’ve been busy living their lives and raising families of their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adding to the two-against-one dynamic is the fact that Rachel isn’t biologically related to her sisters or their father. After Vincent’s first wife died, he married Rachel’s mom and raised Rachel as his own. As Rachel makes needlessly clear to her sisters, she’s no less his daughter than they are.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K0jwAP2fS1E&t=17s\u003c/p>\n\u003cp>There are money and class issues, too; Katie looks down on Rachel, claiming all she does is smoke weed all day and make money through sports gambling. And then there’s the matter of real estate. In one contentious conversation, Katie insinuates that Rachel has been taking care of Vincent partly because of her enviable living situation.\u003c/p>\n\u003cp>In this and every other scene, the acting and the writing have such specificity that you feel you know these characters intimately. Few actors can make anger more mesmerizing than Coon, and her Katie is testy and judgmental, even — or especially — when she tries to seem reasonable.\u003c/p>\n\u003cp>It’s hard not to side a lot of the time with Lyonne’s Rachel, who lets the expletives fly as she pushes back defensively against Katie’s insinuations. That leaves Christina in the tough role of peacemaker. She’s earnest and open-hearted by nature, something that comes out when she describes her Deadhead past. In Olsen’s quietly moving performance, we see a woman who often suppresses her feelings to spare those of others.\u003c/p>\n\u003cp>[aside postid='arts_13964353']What distinguishes \u003cem>His Three Daughters\u003c/em> from so many movies of its type is that while it’s certainly talky, it never feels as if the characters are trying to explain themselves to you. Rather than coughing up large chunks of backstory, their interactions have the pull of honest, free-flowing conversation.\u003c/p>\n\u003cp>Much of the dialogue is taken up with the practical and wholly relatable end-of-life details: the difficulties of writing an obituary, or arranging a do-not-resuscitate order, or even dealing with a well-meaning but slightly exasperating hospice care worker. I haven’t seen many movies that so acutely understand the role food plays in a situation like this, where the act of cooking meals for your family or making sure there’s always fresh coffee can be both a drag and a welcome distraction.\u003c/p>\n\u003cp>Vincent himself is off-camera for most of the movie, sleeping quietly in his room, though Jacobs wisely gives him — and Jay O. Sanders, the actor playing him — a beautiful moment in the film’s last act.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question hanging over \u003cem>His Three Daughters\u003c/em> is whether the sisters will overcome their estrangement and remain family after Vincent’s gone. Jacobs doesn’t force a resolution, though he does end on a note of hard-won understanding that I found both optimistic and deeply affecting. He’s made a movie that, in the shadow of death, says something essential about how we live.\u003c/p>\n\u003cdiv class=\"npr-transcript\">\n\u003chr>\n\u003cp>\u003cem>‘His Three Daughters’ is in movie theaters nationwide now. It begins streaming on Netflix on Sept. 20, 2024.\u003c/em>\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the years I’ve seen more than my share of dysfunctional-family movies and terminal-illness movies, and even the good ones have trouble sidestepping clichés. So it says something that \u003cem>His Three Daughters\u003c/em>, which is about a dysfunctional family coping with a terminal illness, doesn’t feel like a retread.\u003c/p>\n\u003cp>The writer-director Azazel Jacobs has a knack for putting a fresh, intelligent spin on familiar material, from the high-school misfit comedy \u003ca href=\"https://www.npr.org/2011/07/05/137501757/terri-a-troubled-teen-moping-in-comfort\">\u003cem>Terri\u003c/em>\u003c/a> to the playful marital drama \u003cem>The Lovers\u003c/em>. His latest, \u003cem>His Three Daughters\u003c/em>, is a sharply written and beautifully modulated chamber piece, set over a few days inside a Lower Manhattan apartment where three women have gathered to bid farewell to their father, Vincent, who’s in hospice care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>C\u003ca href=\"https://www.npr.org/2020/11/24/938685004/carrie-coon-on-the-leftovers-fargo-and-the-nest\">arrie Coon\u003c/a> plays Katie, the oldest of the three sisters. She lives in Brooklyn with her husband and teenage daughter, but she hasn’t been around to visit her dad much lately. \u003ca href=\"https://www.kqed.org/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised\">Elizabeth Olsen\u003c/a> plays the youngest, Christina, who’s flown in from her home thousands of miles away.\u003c/p>\n\u003cp>And then there’s Rachel — that’s \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">Natasha Lyonne\u003c/a>. She lives with Vincent in this apartment and has been looking after him for some time. Rachel is estranged from her two sisters, for reasons that aren’t initially clear. Jacobs drops us right into the thick of the tension, then gradually fills in the larger picture.\u003c/p>\n\u003cp>Some of the friction stems from the fact that Katie and Christina are essentially outsiders on Rachel’s turf. Rachel can claim some moral high ground, since she’s been taking care of their dad while they’ve been busy living their lives and raising families of their own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adding to the two-against-one dynamic is the fact that Rachel isn’t biologically related to her sisters or their father. After Vincent’s first wife died, he married Rachel’s mom and raised Rachel as his own. As Rachel makes needlessly clear to her sisters, she’s no less his daughter than they are.\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/K0jwAP2fS1E'\n title='//www.youtube.com/embed/K0jwAP2fS1E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are money and class issues, too; Katie looks down on Rachel, claiming all she does is smoke weed all day and make money through sports gambling. And then there’s the matter of real estate. In one contentious conversation, Katie insinuates that Rachel has been taking care of Vincent partly because of her enviable living situation.\u003c/p>\n\u003cp>In this and every other scene, the acting and the writing have such specificity that you feel you know these characters intimately. Few actors can make anger more mesmerizing than Coon, and her Katie is testy and judgmental, even — or especially — when she tries to seem reasonable.\u003c/p>\n\u003cp>It’s hard not to side a lot of the time with Lyonne’s Rachel, who lets the expletives fly as she pushes back defensively against Katie’s insinuations. That leaves Christina in the tough role of peacemaker. She’s earnest and open-hearted by nature, something that comes out when she describes her Deadhead past. In Olsen’s quietly moving performance, we see a woman who often suppresses her feelings to spare those of others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What distinguishes \u003cem>His Three Daughters\u003c/em> from so many movies of its type is that while it’s certainly talky, it never feels as if the characters are trying to explain themselves to you. Rather than coughing up large chunks of backstory, their interactions have the pull of honest, free-flowing conversation.\u003c/p>\n\u003cp>Much of the dialogue is taken up with the practical and wholly relatable end-of-life details: the difficulties of writing an obituary, or arranging a do-not-resuscitate order, or even dealing with a well-meaning but slightly exasperating hospice care worker. I haven’t seen many movies that so acutely understand the role food plays in a situation like this, where the act of cooking meals for your family or making sure there’s always fresh coffee can be both a drag and a welcome distraction.\u003c/p>\n\u003cp>Vincent himself is off-camera for most of the movie, sleeping quietly in his room, though Jacobs wisely gives him — and Jay O. Sanders, the actor playing him — a beautiful moment in the film’s last act.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question hanging over \u003cem>His Three Daughters\u003c/em> is whether the sisters will overcome their estrangement and remain family after Vincent’s gone. Jacobs doesn’t force a resolution, though he does end on a note of hard-won understanding that I found both optimistic and deeply affecting. He’s made a movie that, in the shadow of death, says something essential about how we live.\u003c/p>\n\u003cdiv class=\"npr-transcript\">\n\u003chr>\n\u003cp>\u003cem>‘His Three Daughters’ is in movie theaters nationwide now. It begins streaming on Netflix on Sept. 20, 2024.\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Rebel Ridge\u003c/em> opens with a shot of a lanky, muscular stranger riding into a small, corrupt Southern town — a scene we’ve all seen plenty of times. Except this stranger isn’t in a truck or on a horse. He’s on a bicycle.\u003c/p>\n\u003cp>It’s one of many ways that writer-director Jeremy Saulnier both honors and has fun with movie conventions on his way to making clearly one of the best things on Netflix.\u003c/p>\n\u003cp>[aside postid='arts_13963389']The tight, taut and tension-filled \u003cem>Rebel Ridge\u003c/em> is the story of a former Marine who arrives in Shelby Springs, Louisiana, to post his cousin’s bond and gets sucked into taking on its shady law enforcement department.\u003c/p>\n\u003cp>The last time a relative came to help his cousin from the clutches of less-than-ideal small town Southern legal system it was a comedy with Joe Pesci and a hero named Vinny. If you ever needed a hint that this isn’t that movie, the opening sequence is scored to Iron Maiden.\u003c/p>\n\u003cp>The movie stars Aaron Pierre as our former Marine, Terry Richmond, a man with mad martial arts and survival skills (he catches fish with his bare hands), and, on the opposite side, Don Johnson as the courtly but deadly chief of police, as venal as Richmond is noble. Both seem absolutely to adore their gun-slinging, testosterone-filled roles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saulnier — who dealt with frontier justice and lawlessness in his previous \u003cem>Blue Ruin\u003c/em> and \u003cem>Green Room\u003c/em> — has given this action-thriller loads of social context: racism, opioid addiction, the cash bail system, small-town funding and militarized cops.\u003c/p>\n\u003cp>Like its leading man, \u003cem>Rebel Ridge\u003c/em> is a lean, muscular movie with few over-the-top special effects, save for Pierre’s spectacular eyes. It’s a triumph of small-budget, naturalistic filmmaking, where cars on a gravel road kick up choking clouds of dust and arm bones crack when pressure is applied.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gF3gZicntIw\u003c/p>\n\u003cp>The script is spare — allowing for some homespun poetry like “You know the thing about a pissing contest? Everybody gets piss on their boots” — and without an ounce of fat. So if a bottle of coconut water is brought up in one scene, it’s going be used in another. There are interesting camera angles, like the backseat of a speeding car or a tense cell phone call inside an old-fashioned phone booth.\u003c/p>\n\u003cp>There’s also great use of dramatic underscoring by Brooke and Will Blair, who build discordant waves that grow slack, only to reappear like a shark. The score — including “Wayfaring Stranger” by Neko Case or “Right Brigade” by Bad Brains — are heard only on car radios or headphones or playing in restaurants. Distant thunder sounds often.\u003c/p>\n\u003cp>[aside postid='arts_13963339']Our ex-Marine — described by one officer as “unarmed but considered dangerous” — forges an unlikely ally in a court clerk, played winningly by AnnaSophia Robb, and there’s a plumb role for James Cromwell, too.\u003c/p>\n\u003cp>\u003cem>Rebel Ridge\u003c/em> has whiffs of all kinds of other movies, from \u003cem>First Blood\u003c/em> to spaghetti Westerns, while the script even humanizes the bad guys — “Just because you was right doesn’t make us wrong,” the chief says to our hero.\u003c/p>\n\u003cp>There’s a conspiracy at the heart of the town and you likely won’t be able to turn off the movie before finding out if one well-trained stranger can save the day, as things gloriously escalate. “It’s gotten out of hand. Real soup sandwich,” says our hero. That’s not what ended up on your TV screen, though — it’s the very opposite of a mess.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rebel Ridge’ begins streaming on Netflix on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saulnier — who dealt with frontier justice and lawlessness in his previous \u003cem>Blue Ruin\u003c/em> and \u003cem>Green Room\u003c/em> — has given this action-thriller loads of social context: racism, opioid addiction, the cash bail system, small-town funding and militarized cops.\u003c/p>\n\u003cp>Like its leading man, \u003cem>Rebel Ridge\u003c/em> is a lean, muscular movie with few over-the-top special effects, save for Pierre’s spectacular eyes. It’s a triumph of small-budget, naturalistic filmmaking, where cars on a gravel road kick up choking clouds of dust and arm bones crack when pressure is applied.\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/gF3gZicntIw'\n title='//www.youtube.com/embed/gF3gZicntIw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The script is spare — allowing for some homespun poetry like “You know the thing about a pissing contest? Everybody gets piss on their boots” — and without an ounce of fat. So if a bottle of coconut water is brought up in one scene, it’s going be used in another. There are interesting camera angles, like the backseat of a speeding car or a tense cell phone call inside an old-fashioned phone booth.\u003c/p>\n\u003cp>There’s also great use of dramatic underscoring by Brooke and Will Blair, who build discordant waves that grow slack, only to reappear like a shark. The score — including “Wayfaring Stranger” by Neko Case or “Right Brigade” by Bad Brains — are heard only on car radios or headphones or playing in restaurants. Distant thunder sounds often.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Before Nava Mau found breakout success as Teri, a transgender therapist, in the hit Netflix series \u003cem>Baby Reindeer\u003c/em>, she was close to giving up on acting. But she credits her four years in the Bay Area as a transformative period in her life that gave her the confidence to make it in a notoriously difficult industry.\u003c/p>\n\u003cp>Born in Mexico City and raised in San Antonio, Mau attempted to make it as an actress in Los Angeles after college. But she struggled with feelings of failure and depression, and eventually moved back to her Texas hometown. That was when she got the idea to come to the Bay.\u003c/p>\n\u003cp>“A good friend told me, ‘I think you’d really like it in Oakland,’” Mau recalls, “and she lent me $2,000.”\u003c/p>\n\u003cp>In February 2015, Mau drove to Oakland and started an entirely new chapter. In her four years there, she would undertake her gender transition, discover one of her callings as an LGBTQ+ peer counselor and find a community that transformed her.\u003c/p>\n\u003cp>“I was lucky to be embraced by a community of Black and brown queer and trans people,” she says. “I was shown what it can be like when other people uplift each other. My whole life became about being a part of this community.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After rediscovering herself in Oakland, Mau gave herself five years to make it in Hollywood. She found it quite difficult to break into the scene, particularly as a brown trans woman, but eventually made peace with the uncontrollable nature of the Hollywood beast. Then \u003cem>Baby Reindeer\u003c/em> came into her life.\u003c/p>\n\u003cfigure id=\"attachment_13963551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_20_42_07-e1725389863640.png\" alt=\"\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(Left to right) Richard Gadd as Donny, Nava Mau as Teri in ‘Baby Reindeer.’ \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show debuted in April of this year, just two months before Mau’s five years were set to expire, and became an incredible surprise success. According to \u003ca href=\"https://variety.com/2024/tv/news/netflix-top-10-streaming-ratings-3-1236041392/\">\u003cem>Variety\u003c/em>\u003c/a>, it is the 10th most popular English-language Netflix series ever. \u003cem>Baby Reindeer\u003c/em> received 11 Emmy nominations, and Mau is up for Best Supporting Actress at the upcoming Emmy Awards on Sept. 15. (That makes her the first transgender person to be nominated for a limited series acting Emmy.)\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> tells the story of Donny Dunn (played by series creator Richard Gadd), a struggling Scottish comedian with an obsessive stalker, Martha (Jessica Gunning). Mau’s character, Teri, is Donny’s main love interest, and she gets dragged into a strange and dangerous love triangle. By demanding that Donny show her the respect she deserves, and deal with his unfinished business, Teri becomes the moral center of the show, offering a vision of a healed and resilient individual. [aside postid='arts_13962898']\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> is refreshing because it doesn’t fixate on Teri’s struggles as a trans woman, nor does it condescendingly use her journey to teach Donny life lessons. Rather, she comes across as a fully formed woman whose life meaningfully intersects with Donny’s. Where her trans history is relevant, the script treats it in ways that are subtle, complex and authentic. The show is sensitive to the fact that Teri carries scars from being a trans woman in this world, and lets them slip delicately into the plot as would the details of any complex individual’s life.\u003c/p>\n\u003cp>“In many shows, trans people’s function is almost to be the safer trauma and the subject of pity,” Mau says. “It really felt like [Gadd] wanted to honor Teri’s power and all the ways that she pierces through Donny’s hiding. As a writer, Richard imbued a lot of gratitude for her. I needed to bring that into my performance.”\u003c/p>\n\u003cfigure id=\"attachment_13963553\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg\" alt=\"Nava Mau glammed up at an award show. \" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1920x2880.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at The Critics Choice Association’s Inaugural Celebration of LGBTQ+ Cinema & Television held at the Fairmont Century Plaza on June 7, 2024 in Los Angeles, California. \u003ccite>(Tommaso Boddi/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In my view, Teri’s placement in a supporting role — instead of a lead — helps liberate her from many clichés of trans representation. By not having to carry the entire plot, she can be more herself, an independent person rather than a subject of scrutiny.\u003c/p>\n\u003cp>Mau shared her thoughts on that idea. “Teri being a supporting character allows for Donny and the audience to see the best in her,” she tells me. “She can see right through all the walls that Donny has built around himself. The only way the story can present that is by having Teri be this third person in the plot.”\u003c/p>\n\u003cp>“I always say Teri is on her own show, Teri is having a different narrative,” Mau adds. “That dynamic created a lot of intrigue for this character. It’s a gift that a trans woman got to be put into that kind of position. It’s a first.”\u003c/p>\n\u003cp>Following the smash success of \u003cem>Baby Reindeer\u003c/em>, Mau has had a great summer. In addition to the Emmy nomination, she also announced her new role on the fifth season of the \u003ca href=\"https://www.netflix.com/tudum/articles/you-season-5-renewal-final-season\">popular Netflix thriller \u003cem>You\u003c/em>\u003c/a>, as a character named Detective Marquez. Beyond that, her lips are sealed. “I’m pretty sure I would be hunted down if I say anything about it,” she laughed, “but I am very excited about it. I can’t wait to see it.”\u003c/p>\n\u003cfigure id=\"attachment_13963555\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1920x1418.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at the photo call for ‘Baby Reindeer’ held at the DGA Theater Complex on May 7, 2024 in Los Angeles, California. \u003ccite>(Gregg DeGuire/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking back, Mau now sees her four years in the Bay Area as her coming of age, and her work as a peer counselor set the stage for her Hollywood success. In empathizing with clients and providing a space for exploration, she learned a lot about her own development as a person and built confidence.\u003c/p>\n\u003cp>“To me, peer counseling always felt so generative, it was the most fulfilling work I’ve ever done,” she reflects. “And it was so integral to my transition — I literally started the job as a counselor the month I started my medical transition.”\u003c/p>\n\u003cp>Mau also credits peer counseling with helping her gain a nuanced understanding of how race, gender, class and ability play into various situations and relationships — essential knowledge for the roles she plays. “The model of peer counseling has informed the dynamics of power I think about when acting.” [aside postid='arts_13939974']\u003c/p>\n\u003cp>When inhabiting the role of Teri, Mau sometimes found it challenging to get out of her own personal experience, and had to work to build out a backstory for her character. “I came up in community and community-oriented work, and Teri came up in the clubs,” she said. “I had to really imagine that the Bay was not part of Teri’s story.”\u003c/p>\n\u003cp>But she also sees parallels between her time as a peer counselor and how Teri relates to Donny. “I really understood what it is to create safety for another person, and then encourage someone to open up and reflect, which we see Teri do multiple times,” she says. “Asking the right questions and creating the space — isn’t that the counseling superpower?”\u003c/p>\n\u003cp>Mau hopes to really change the ways lives are told on screen — not just for trans people but also for Black and brown individuals. Whether or not she wins the Emmy, she wants to use her notoriety to keep telling stories that really matter to people in her community.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Being nominated by fellow actors means the world to me, and it also means that I’m going to keep doing the work that really means something, to continue on to the next chapter of telling stories that come from the heart and have some kind of cultural meaning,” she says. “I can’t wait to see what comes next.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Nava Mau found breakout success as Teri, a transgender therapist, in the hit Netflix series \u003cem>Baby Reindeer\u003c/em>, she was close to giving up on acting. But she credits her four years in the Bay Area as a transformative period in her life that gave her the confidence to make it in a notoriously difficult industry.\u003c/p>\n\u003cp>Born in Mexico City and raised in San Antonio, Mau attempted to make it as an actress in Los Angeles after college. But she struggled with feelings of failure and depression, and eventually moved back to her Texas hometown. That was when she got the idea to come to the Bay.\u003c/p>\n\u003cp>“A good friend told me, ‘I think you’d really like it in Oakland,’” Mau recalls, “and she lent me $2,000.”\u003c/p>\n\u003cp>In February 2015, Mau drove to Oakland and started an entirely new chapter. In her four years there, she would undertake her gender transition, discover one of her callings as an LGBTQ+ peer counselor and find a community that transformed her.\u003c/p>\n\u003cp>“I was lucky to be embraced by a community of Black and brown queer and trans people,” she says. “I was shown what it can be like when other people uplift each other. My whole life became about being a part of this community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After rediscovering herself in Oakland, Mau gave herself five years to make it in Hollywood. She found it quite difficult to break into the scene, particularly as a brown trans woman, but eventually made peace with the uncontrollable nature of the Hollywood beast. Then \u003cem>Baby Reindeer\u003c/em> came into her life.\u003c/p>\n\u003cfigure id=\"attachment_13963551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_20_42_07-e1725389863640.png\" alt=\"\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(Left to right) Richard Gadd as Donny, Nava Mau as Teri in ‘Baby Reindeer.’ \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show debuted in April of this year, just two months before Mau’s five years were set to expire, and became an incredible surprise success. According to \u003ca href=\"https://variety.com/2024/tv/news/netflix-top-10-streaming-ratings-3-1236041392/\">\u003cem>Variety\u003c/em>\u003c/a>, it is the 10th most popular English-language Netflix series ever. \u003cem>Baby Reindeer\u003c/em> received 11 Emmy nominations, and Mau is up for Best Supporting Actress at the upcoming Emmy Awards on Sept. 15. (That makes her the first transgender person to be nominated for a limited series acting Emmy.)\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> tells the story of Donny Dunn (played by series creator Richard Gadd), a struggling Scottish comedian with an obsessive stalker, Martha (Jessica Gunning). Mau’s character, Teri, is Donny’s main love interest, and she gets dragged into a strange and dangerous love triangle. By demanding that Donny show her the respect she deserves, and deal with his unfinished business, Teri becomes the moral center of the show, offering a vision of a healed and resilient individual. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> is refreshing because it doesn’t fixate on Teri’s struggles as a trans woman, nor does it condescendingly use her journey to teach Donny life lessons. Rather, she comes across as a fully formed woman whose life meaningfully intersects with Donny’s. Where her trans history is relevant, the script treats it in ways that are subtle, complex and authentic. The show is sensitive to the fact that Teri carries scars from being a trans woman in this world, and lets them slip delicately into the plot as would the details of any complex individual’s life.\u003c/p>\n\u003cp>“In many shows, trans people’s function is almost to be the safer trauma and the subject of pity,” Mau says. “It really felt like [Gadd] wanted to honor Teri’s power and all the ways that she pierces through Donny’s hiding. As a writer, Richard imbued a lot of gratitude for her. I needed to bring that into my performance.”\u003c/p>\n\u003cfigure id=\"attachment_13963553\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg\" alt=\"Nava Mau glammed up at an award show. \" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1920x2880.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at The Critics Choice Association’s Inaugural Celebration of LGBTQ+ Cinema & Television held at the Fairmont Century Plaza on June 7, 2024 in Los Angeles, California. \u003ccite>(Tommaso Boddi/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In my view, Teri’s placement in a supporting role — instead of a lead — helps liberate her from many clichés of trans representation. By not having to carry the entire plot, she can be more herself, an independent person rather than a subject of scrutiny.\u003c/p>\n\u003cp>Mau shared her thoughts on that idea. “Teri being a supporting character allows for Donny and the audience to see the best in her,” she tells me. “She can see right through all the walls that Donny has built around himself. The only way the story can present that is by having Teri be this third person in the plot.”\u003c/p>\n\u003cp>“I always say Teri is on her own show, Teri is having a different narrative,” Mau adds. “That dynamic created a lot of intrigue for this character. It’s a gift that a trans woman got to be put into that kind of position. It’s a first.”\u003c/p>\n\u003cp>Following the smash success of \u003cem>Baby Reindeer\u003c/em>, Mau has had a great summer. In addition to the Emmy nomination, she also announced her new role on the fifth season of the \u003ca href=\"https://www.netflix.com/tudum/articles/you-season-5-renewal-final-season\">popular Netflix thriller \u003cem>You\u003c/em>\u003c/a>, as a character named Detective Marquez. Beyond that, her lips are sealed. “I’m pretty sure I would be hunted down if I say anything about it,” she laughed, “but I am very excited about it. I can’t wait to see it.”\u003c/p>\n\u003cfigure id=\"attachment_13963555\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1920x1418.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at the photo call for ‘Baby Reindeer’ held at the DGA Theater Complex on May 7, 2024 in Los Angeles, California. \u003ccite>(Gregg DeGuire/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking back, Mau now sees her four years in the Bay Area as her coming of age, and her work as a peer counselor set the stage for her Hollywood success. In empathizing with clients and providing a space for exploration, she learned a lot about her own development as a person and built confidence.\u003c/p>\n\u003cp>“To me, peer counseling always felt so generative, it was the most fulfilling work I’ve ever done,” she reflects. “And it was so integral to my transition — I literally started the job as a counselor the month I started my medical transition.”\u003c/p>\n\u003cp>Mau also credits peer counseling with helping her gain a nuanced understanding of how race, gender, class and ability play into various situations and relationships — essential knowledge for the roles she plays. “The model of peer counseling has informed the dynamics of power I think about when acting.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When inhabiting the role of Teri, Mau sometimes found it challenging to get out of her own personal experience, and had to work to build out a backstory for her character. “I came up in community and community-oriented work, and Teri came up in the clubs,” she said. “I had to really imagine that the Bay was not part of Teri’s story.”\u003c/p>\n\u003cp>But she also sees parallels between her time as a peer counselor and how Teri relates to Donny. “I really understood what it is to create safety for another person, and then encourage someone to open up and reflect, which we see Teri do multiple times,” she says. “Asking the right questions and creating the space — isn’t that the counseling superpower?”\u003c/p>\n\u003cp>Mau hopes to really change the ways lives are told on screen — not just for trans people but also for Black and brown individuals. Whether or not she wins the Emmy, she wants to use her notoriety to keep telling stories that really matter to people in her community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Being nominated by fellow actors means the world to me, and it also means that I’m going to keep doing the work that really means something, to continue on to the next chapter of telling stories that come from the heart and have some kind of cultural meaning,” she says. “I can’t wait to see what comes next.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-movies-summer-2024-npr-critics-picks",
"title": "The 19 Movies NPR Critics Are Most Excited About This Summer",
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"headTitle": "The 19 Movies NPR Critics Are Most Excited About This Summer | KQED",
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"content": "\u003cp>At this time of year, there’s air conditioning, and then there’s movie theater air conditioning — a frigid blast forceful enough to cool down the biggest crowd on a hot summer’s day. And if that’s not enough, your neighborhood multiplex also boasts enormous ice-cold drinks to go with popcorn and candy and … oh, right … it also has movies! Comedies, action-adventures, coming-of-age tales, animation.\u003c/p>\n\u003cp>If you’re wondering which to catch, NPR critics have you covered. Here’s our take on the cream of the cinematic crop — Marvel to just plain marvelous — from now through Labor Day.\u003c/p>\n\u003cp>\u003cstrong>‘Hit Man,’ in theaters May 24, on Netflix June 7\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXwa8DKIK7g&t=10s\u003c/p>\n\u003cp>Red-hot star Glen Powell plays the titular hit man — well, a cop pretending to be a hit man — in this action rom-com. Romantic comedies are much rarer than they used to be, and the ones that do show up are often disappointing. But! Powell co-wrote the screenplay with director Richard Linklater, whose skill with love stories is well established (the Before trilogy is all the love-story credibility anybody needs, forever). A lot of Netflix movies have fizzled. Hopefully this one will not. — Linda Holmes\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Ghostlight,’ in theaters June 14\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1TycuGX4Mw\u003c/p>\n\u003cp>The title of this warmly engaging drama refers to theatrical superstition: a light left onstage to keep the theater ghost at bay — or at least to keep it happy — when actors aren’t present. Actors are everywhere here, as family tragedy blends into Shakespearean tragedy (a grieving construction worker getting roped into a community theater \u003cem>Romeo and Juliet\u003c/em>), and the film doubles down on connections by casting a real-life father, wife and daughter as the construction worker, his wife and their daughter. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Inside Out 2,’ in theaters June 14\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LEjhY15eCx0\u003c/p>\n\u003cp>\u003cem>Inside Out\u003c/em> was one of Pixar’s best films, but sequels haven’t always been the studio’s strength. Still, it’s exciting to know that Joy (Amy Poehler) is back, as are Phyllis Smith’s Sadness and Lewis Black’s Anger. New voices and new emotions arrive as Riley enters her teenage years, and the world may not be ready for Maya Hawke as Anxiety or Ayo Edebiri as Envy (OK, I may not). But get out the tissues or whatever else you need to cope with an onslaught of feelings, because it’s coming. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘The Bikeriders,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PYioWaFdp70\u003c/p>\n\u003cp>A melodrama about a fictional 1960s motorcycle gang starring Austin Butler, Jodie Comer and Tom Hardy? Sure, why not! This is Jeff Nichols’ first feature in almost a decade (following 2016’s \u003cem>Loving\u003c/em> and \u003cem>Midnight Special\u003c/em>), and he has proved himself again and again as a filmmaker who excels at capturing mood and ambience, through setting as well as a great Michael Shannon performance. At the very least, this could be a thrill ride. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Fancy Dance,’ in theaters June 21, on Apple TV+ June 28\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AmPPiLaiN8g\u003c/p>\n\u003cp>It has taken far too long for Erica Tremblay’s profound feature debut to get a proper release — it premiered at Sundance back in January 2023 — but the wait is worth it. Lily Gladstone plays Jax, a woman caring for her young niece on a Native American reservation after her sister goes missing. Part crime drama and part road trip movie, it avoids emotional clichés while offering an underseen perspective and a dynamic performance from Gladstone. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Kinds of Kindness,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=inAuktwXbew\u003c/p>\n\u003cp>Viewers who know Yorgos Lanthimos’ recent work — \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a> — might find him whimsically absurd. Those of us who’ve been with him from his 2009 breakthrough, \u003cem>Dogtooth\u003c/em>, however, know him to be a deadpan satirist of the most scalding, remorseless variety. He has reteamed with \u003cem>Dogtooth\u003c/em> writer Efthimis Filippou for this anthology film featuring the same stable of actors playing different roles in three shorts. Can’t wait to see him getting back to his roots; bring on the bleak. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Thelma,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lyE_hYkZPPE\u003c/p>\n\u003cp>Ninety-three-year-old Thelma (June Squibb) is duped by a phone scammer in the opening reel and then sets off on a geriatric \u003cem>Mission: Impossible\u003c/em> across Los Angeles to get her money back. Along the way, she enlists the aid (and electric scooter) of an old pal (the late Richard Roundtree), runs rings around her frantic daughter (Parker Posey) and matches wits with scammer Malcolm McDowell. An understated riot that’s arguably the most Sundance-ean comedy since \u003cem>Little Miss Sunshine\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Horizon: An American Saga, Chapter 1\u003c/em> and \u003cem>Chapter 2\u003c/em>, in theaters June 28 and Aug. 16\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YYsReoZMj1k\u003c/p>\n\u003cp>Kevin Costner’s passion project (he has said he mortgaged his 10-acre oceanfront property in Santa Barbara to finance it) returns him to \u003cem>Dances With Wolves\u003c/em> territory — settlers arriving in covered wagons, expecting Indigenous communities to disappear. \u003cem>Chapter 1\u003c/em> is reportedly roughly three hours long. \u003cem>Chapter 2\u003c/em> will hit theaters seven weeks later. And depending on whether audiences show up, Costner will spend his summer either shooting the next chapter or, I guess, nursing his wounds. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘A Quiet Place: Day One,’ in theaters June 28\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gjx-iHGXk9Q\u003c/p>\n\u003cp>It’s not a spoiler anymore that \u003cem>A Quiet Place\u003c/em>‘s story made sequels complicated — but there are always prequels. This one, starring Lupita Nyong’o, rewinds all the way back to the alien invasion that got everybody to shut up in the first place. And unlike the other two films, it takes place smack in the middle of New York City, not the most natural place to attempt total silence. John Krasinski stepped back from both directing and writing the screenplay, which could be a problem — or a fresh start. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Beverly Hills Cop: Axel F,’ on Netflix July 3\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KoxhkE_U3Ww\u003c/p>\n\u003cp>Street-smart Detroit detective Axel Foley is the role that made Eddie Murphy a movie star in 1984. This Part 4 has been in development since the mid-1990s, after morphing briefly into a TV pilot that never got picked up. Joining Murphy from the earlier films will be fellow cops Judge Reinhold, John Ashton and Paul Reiser, as well as Bronson Pinchot’s star-making art gallerist, Serge. Franchise newbies include Joseph Gordon-Levitt and Kevin Bacon. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Fly Me to the Moon,’ in theaters July 12\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lW7enw6mFxs\u003c/p>\n\u003cp>“Space race rom-com” isn’t exactly well-trod territory, so this project from Greg Berlanti (\u003cem>Love, Simon\u003c/em>) could be a light, refreshing summer diversion starring a pair of ridiculously good-looking actors. Scarlett Johansson and Channing Tatum play a marketing consultant and NASA launch director who team up to stage a “backup” recording of the moon landing in case the actual moon-landing attempt fails. Presumably they fall in love, with at least one Sinatra song crooning in the background. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘National Anthem,’ in theaters July 12\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oeGCjSOHfZ8\u003c/p>\n\u003cp>This is the first feature by photographer Luke Gilford. Charlie Plummer stars as a young man in New Mexico who takes a job at a homestead of queer rodeo performers where, as often happens in films like this, he comes to learn things about himself. I haven’t yet seen it, but by all accounts it’s a quiet and lyrical movie that tells a queer story that isn’t rooted in trauma and tragedy, but in self-discovery and finding your people. It arrives at a time when those stories are much needed. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Sing Sing,’ in theaters July 12 (limited), Aug. 2 (wide)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3dXc6P3zH8\u003c/p>\n\u003cp>One current rule: If it has \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> in it, it will be worth watching. \u003cem>Sing Sing\u003c/em> is about a man played by Domingo who is incarcerated for a crime he didn’t commit and who joins the New York prison’s theater program to produce a comedy with his fellow inmates. The movie’s publicity campaign makes some broad claims (including that it’s a “true story of resilience, humanity, and the transformative power of art”), but if it lives up to them the way its early reviews suggest, it will be special. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Twisters,’ in theaters July 19\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wdok0rZdmx4\u003c/p>\n\u003cp>The most intriguing thing about this sequel to the classic, bombastic disaster movie \u003cem>Twister\u003c/em> is that it’s directed by Lee Isaac Chung, who directed \u003cem>Minari\u003c/em> — one of the least bombastic films in recent memory. Glen Powell and Daisy Edgar-Jones star in this sequel, which certainly tries in its trailer to call to mind the goofy, special-effects-heavy, not-actually-advisable-in-a-storm feeling of the original. Will it have a plot? Who knows? Does it need a plot? Probably not! — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Deadpool & Wolverine,’ in theaters July 26\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pn5fdK61o9c\u003c/p>\n\u003cp>Marvel may be releasing only one superhero movie this year, but it’s a double-header, with two regenerative dudes in spandex — one joke-spewing and disfigured, the other snarling and adamantium-clawed — teaming up to save something or other. Technically, it’s Ryan Reynolds’ movie, so he’ll be setting the tone, meaning lotsa laughs. What? — you say — Wolverine died in his last movie? Well, to that I say … multiverse … or time-shift … or who cares, if Hugh Jackman’s willing to come back. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Dìdi,’ in theaters July 26\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e6gve8GtSuU\u003c/p>\n\u003cp>Thirteen-year-old Chris begins Sean Wang’s semi-autobiographical, coming-of-age dramedy trading insults with his older sister, and he ends it choked up as she leaves home (and him) for college. In between, there are pranks, misadventures, a clumsy first romance and an ill-advised attempt to ingratiate himself with some cool high school skateboarders by claiming to be an expert filmmaker. The film, which charmed at Sundance, is a lot like its pint-size hero — cute, exasperating, promising. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Kneecap,’ in theaters Aug. 2\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QB2LsoZOQpU\u003c/p>\n\u003cp>Raw, raunchy, violent and uproarious, this origin story of the titular Irish-language hip-hop group is both a riot and a call to arms. Filled with the fury of a populace that had to fight for the right to keep its own language, the film features rappers Naoise Ó Cairealláin and Liam Óg Ó Hannaidh, as well as the mild-mannered substitute music teacher who became their DJ, JJ Ó Dochartaigh, playing themselves — entirely professionally — through sex scenes, police beatings and drug-fueled jam sessions. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Close to You,’ in theaters Aug. 16\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959596\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png\" alt=\"A shirtless young trans man leans up against a window frame and gazes outside.\" width=\"966\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-800x444.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-672x372.png 672w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Page in ‘Close to You.’ \u003ccite>(Me+You Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Elliot Page, in his first movie role in six years, playing a trans man who’s wary about attending his first family reunion since his transition, this story already had hooks for audiences. Throw in reports that the film’s scenes were mostly improvised on the day of shooting, and it sounds like an emotional high-wire act. Page, who came out as trans in 2020, is also involved with another queer coming-of-age story this summer, as executive producer for the cheerleading tale \u003cem>Backspot\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Between the Temples,’ in theaters Aug. 23\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959595\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png\" alt=\"An older woman leans her head onto the shoulder of a younger man. \" width=\"1292\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-768x429.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Jason Schwartzman and Carol Kane in ‘Between the Temples.’ \u003ccite>(Sean Price Williams/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A depressed cantor (Jason Schwartzman) who can’t sing since his wife’s death gets an odd request while teaching bar/bat mitzvah classes at his synagogue. His septuagenarian grade-school music teacher (Carol Kane) recognizes he’s foundering and wants to help, so she asks him to tutor her for a late-in-life bat mitzvah. He resists, she insists, and things go predictably \u003cem>Harold and Maude\u003c/em> from there in plot terms, though Schwartzman and Kane bring their own quirks. — Bob Mondello\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this time of year, there’s air conditioning, and then there’s movie theater air conditioning — a frigid blast forceful enough to cool down the biggest crowd on a hot summer’s day. And if that’s not enough, your neighborhood multiplex also boasts enormous ice-cold drinks to go with popcorn and candy and … oh, right … it also has movies! Comedies, action-adventures, coming-of-age tales, animation.\u003c/p>\n\u003cp>If you’re wondering which to catch, NPR critics have you covered. Here’s our take on the cream of the cinematic crop — Marvel to just plain marvelous — from now through Labor Day.\u003c/p>\n\u003cp>\u003cstrong>‘Hit Man,’ in theaters May 24, on Netflix June 7\u003c/strong>\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/DXwa8DKIK7g'\n title='//www.youtube.com/embed/DXwa8DKIK7g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Red-hot star Glen Powell plays the titular hit man — well, a cop pretending to be a hit man — in this action rom-com. Romantic comedies are much rarer than they used to be, and the ones that do show up are often disappointing. But! Powell co-wrote the screenplay with director Richard Linklater, whose skill with love stories is well established (the Before trilogy is all the love-story credibility anybody needs, forever). A lot of Netflix movies have fizzled. Hopefully this one will not. — Linda Holmes\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Ghostlight,’ in theaters June 14\u003c/strong>\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/R1TycuGX4Mw'\n title='//www.youtube.com/embed/R1TycuGX4Mw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The title of this warmly engaging drama refers to theatrical superstition: a light left onstage to keep the theater ghost at bay — or at least to keep it happy — when actors aren’t present. Actors are everywhere here, as family tragedy blends into Shakespearean tragedy (a grieving construction worker getting roped into a community theater \u003cem>Romeo and Juliet\u003c/em>), and the film doubles down on connections by casting a real-life father, wife and daughter as the construction worker, his wife and their daughter. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Inside Out 2,’ in theaters June 14\u003c/strong>\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/LEjhY15eCx0'\n title='//www.youtube.com/embed/LEjhY15eCx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Inside Out\u003c/em> was one of Pixar’s best films, but sequels haven’t always been the studio’s strength. Still, it’s exciting to know that Joy (Amy Poehler) is back, as are Phyllis Smith’s Sadness and Lewis Black’s Anger. New voices and new emotions arrive as Riley enters her teenage years, and the world may not be ready for Maya Hawke as Anxiety or Ayo Edebiri as Envy (OK, I may not). But get out the tissues or whatever else you need to cope with an onslaught of feelings, because it’s coming. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘The Bikeriders,’ in theaters June 21\u003c/strong>\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/PYioWaFdp70'\n title='//www.youtube.com/embed/PYioWaFdp70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A melodrama about a fictional 1960s motorcycle gang starring Austin Butler, Jodie Comer and Tom Hardy? Sure, why not! This is Jeff Nichols’ first feature in almost a decade (following 2016’s \u003cem>Loving\u003c/em> and \u003cem>Midnight Special\u003c/em>), and he has proved himself again and again as a filmmaker who excels at capturing mood and ambience, through setting as well as a great Michael Shannon performance. At the very least, this could be a thrill ride. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Fancy Dance,’ in theaters June 21, on Apple TV+ June 28\u003c/strong>\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/AmPPiLaiN8g'\n title='//www.youtube.com/embed/AmPPiLaiN8g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It has taken far too long for Erica Tremblay’s profound feature debut to get a proper release — it premiered at Sundance back in January 2023 — but the wait is worth it. Lily Gladstone plays Jax, a woman caring for her young niece on a Native American reservation after her sister goes missing. Part crime drama and part road trip movie, it avoids emotional clichés while offering an underseen perspective and a dynamic performance from Gladstone. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Kinds of Kindness,’ in theaters June 21\u003c/strong>\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/inAuktwXbew'\n title='//www.youtube.com/embed/inAuktwXbew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Viewers who know Yorgos Lanthimos’ recent work — \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a> — might find him whimsically absurd. Those of us who’ve been with him from his 2009 breakthrough, \u003cem>Dogtooth\u003c/em>, however, know him to be a deadpan satirist of the most scalding, remorseless variety. He has reteamed with \u003cem>Dogtooth\u003c/em> writer Efthimis Filippou for this anthology film featuring the same stable of actors playing different roles in three shorts. Can’t wait to see him getting back to his roots; bring on the bleak. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Thelma,’ in theaters June 21\u003c/strong>\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/lyE_hYkZPPE'\n title='//www.youtube.com/embed/lyE_hYkZPPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ninety-three-year-old Thelma (June Squibb) is duped by a phone scammer in the opening reel and then sets off on a geriatric \u003cem>Mission: Impossible\u003c/em> across Los Angeles to get her money back. Along the way, she enlists the aid (and electric scooter) of an old pal (the late Richard Roundtree), runs rings around her frantic daughter (Parker Posey) and matches wits with scammer Malcolm McDowell. An understated riot that’s arguably the most Sundance-ean comedy since \u003cem>Little Miss Sunshine\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Horizon: An American Saga, Chapter 1\u003c/em> and \u003cem>Chapter 2\u003c/em>, in theaters June 28 and Aug. 16\u003c/strong>\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/YYsReoZMj1k'\n title='//www.youtube.com/embed/YYsReoZMj1k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kevin Costner’s passion project (he has said he mortgaged his 10-acre oceanfront property in Santa Barbara to finance it) returns him to \u003cem>Dances With Wolves\u003c/em> territory — settlers arriving in covered wagons, expecting Indigenous communities to disappear. \u003cem>Chapter 1\u003c/em> is reportedly roughly three hours long. \u003cem>Chapter 2\u003c/em> will hit theaters seven weeks later. And depending on whether audiences show up, Costner will spend his summer either shooting the next chapter or, I guess, nursing his wounds. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘A Quiet Place: Day One,’ in theaters June 28\u003c/strong>\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/gjx-iHGXk9Q'\n title='//www.youtube.com/embed/gjx-iHGXk9Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not a spoiler anymore that \u003cem>A Quiet Place\u003c/em>‘s story made sequels complicated — but there are always prequels. This one, starring Lupita Nyong’o, rewinds all the way back to the alien invasion that got everybody to shut up in the first place. And unlike the other two films, it takes place smack in the middle of New York City, not the most natural place to attempt total silence. John Krasinski stepped back from both directing and writing the screenplay, which could be a problem — or a fresh start. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Beverly Hills Cop: Axel F,’ on Netflix July 3\u003c/strong>\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/KoxhkE_U3Ww'\n title='//www.youtube.com/embed/KoxhkE_U3Ww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Street-smart Detroit detective Axel Foley is the role that made Eddie Murphy a movie star in 1984. This Part 4 has been in development since the mid-1990s, after morphing briefly into a TV pilot that never got picked up. Joining Murphy from the earlier films will be fellow cops Judge Reinhold, John Ashton and Paul Reiser, as well as Bronson Pinchot’s star-making art gallerist, Serge. Franchise newbies include Joseph Gordon-Levitt and Kevin Bacon. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Fly Me to the Moon,’ in theaters July 12\u003c/strong>\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/lW7enw6mFxs'\n title='//www.youtube.com/embed/lW7enw6mFxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Space race rom-com” isn’t exactly well-trod territory, so this project from Greg Berlanti (\u003cem>Love, Simon\u003c/em>) could be a light, refreshing summer diversion starring a pair of ridiculously good-looking actors. Scarlett Johansson and Channing Tatum play a marketing consultant and NASA launch director who team up to stage a “backup” recording of the moon landing in case the actual moon-landing attempt fails. Presumably they fall in love, with at least one Sinatra song crooning in the background. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘National Anthem,’ in theaters July 12\u003c/strong>\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/oeGCjSOHfZ8'\n title='//www.youtube.com/embed/oeGCjSOHfZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the first feature by photographer Luke Gilford. Charlie Plummer stars as a young man in New Mexico who takes a job at a homestead of queer rodeo performers where, as often happens in films like this, he comes to learn things about himself. I haven’t yet seen it, but by all accounts it’s a quiet and lyrical movie that tells a queer story that isn’t rooted in trauma and tragedy, but in self-discovery and finding your people. It arrives at a time when those stories are much needed. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Sing Sing,’ in theaters July 12 (limited), Aug. 2 (wide)\u003c/strong>\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/j3dXc6P3zH8'\n title='//www.youtube.com/embed/j3dXc6P3zH8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One current rule: If it has \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> in it, it will be worth watching. \u003cem>Sing Sing\u003c/em> is about a man played by Domingo who is incarcerated for a crime he didn’t commit and who joins the New York prison’s theater program to produce a comedy with his fellow inmates. The movie’s publicity campaign makes some broad claims (including that it’s a “true story of resilience, humanity, and the transformative power of art”), but if it lives up to them the way its early reviews suggest, it will be special. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Twisters,’ in theaters July 19\u003c/strong>\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/wdok0rZdmx4'\n title='//www.youtube.com/embed/wdok0rZdmx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The most intriguing thing about this sequel to the classic, bombastic disaster movie \u003cem>Twister\u003c/em> is that it’s directed by Lee Isaac Chung, who directed \u003cem>Minari\u003c/em> — one of the least bombastic films in recent memory. Glen Powell and Daisy Edgar-Jones star in this sequel, which certainly tries in its trailer to call to mind the goofy, special-effects-heavy, not-actually-advisable-in-a-storm feeling of the original. Will it have a plot? Who knows? Does it need a plot? Probably not! — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Deadpool & Wolverine,’ in theaters July 26\u003c/strong>\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/pn5fdK61o9c'\n title='//www.youtube.com/embed/pn5fdK61o9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Marvel may be releasing only one superhero movie this year, but it’s a double-header, with two regenerative dudes in spandex — one joke-spewing and disfigured, the other snarling and adamantium-clawed — teaming up to save something or other. Technically, it’s Ryan Reynolds’ movie, so he’ll be setting the tone, meaning lotsa laughs. What? — you say — Wolverine died in his last movie? Well, to that I say … multiverse … or time-shift … or who cares, if Hugh Jackman’s willing to come back. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Dìdi,’ in theaters July 26\u003c/strong>\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/e6gve8GtSuU'\n title='//www.youtube.com/embed/e6gve8GtSuU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thirteen-year-old Chris begins Sean Wang’s semi-autobiographical, coming-of-age dramedy trading insults with his older sister, and he ends it choked up as she leaves home (and him) for college. In between, there are pranks, misadventures, a clumsy first romance and an ill-advised attempt to ingratiate himself with some cool high school skateboarders by claiming to be an expert filmmaker. The film, which charmed at Sundance, is a lot like its pint-size hero — cute, exasperating, promising. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Kneecap,’ in theaters Aug. 2\u003c/strong>\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/QB2LsoZOQpU'\n title='//www.youtube.com/embed/QB2LsoZOQpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Raw, raunchy, violent and uproarious, this origin story of the titular Irish-language hip-hop group is both a riot and a call to arms. Filled with the fury of a populace that had to fight for the right to keep its own language, the film features rappers Naoise Ó Cairealláin and Liam Óg Ó Hannaidh, as well as the mild-mannered substitute music teacher who became their DJ, JJ Ó Dochartaigh, playing themselves — entirely professionally — through sex scenes, police beatings and drug-fueled jam sessions. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Close to You,’ in theaters Aug. 16\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959596\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png\" alt=\"A shirtless young trans man leans up against a window frame and gazes outside.\" width=\"966\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-800x444.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-672x372.png 672w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Page in ‘Close to You.’ \u003ccite>(Me+You Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Elliot Page, in his first movie role in six years, playing a trans man who’s wary about attending his first family reunion since his transition, this story already had hooks for audiences. Throw in reports that the film’s scenes were mostly improvised on the day of shooting, and it sounds like an emotional high-wire act. Page, who came out as trans in 2020, is also involved with another queer coming-of-age story this summer, as executive producer for the cheerleading tale \u003cem>Backspot\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Between the Temples,’ in theaters Aug. 23\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959595\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png\" alt=\"An older woman leans her head onto the shoulder of a younger man. \" width=\"1292\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-768x429.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Jason Schwartzman and Carol Kane in ‘Between the Temples.’ \u003ccite>(Sean Price Williams/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A depressed cantor (Jason Schwartzman) who can’t sing since his wife’s death gets an odd request while teaching bar/bat mitzvah classes at his synagogue. His septuagenarian grade-school music teacher (Carol Kane) recognizes he’s foundering and wants to help, so she asks him to tutor her for a late-in-life bat mitzvah. He resists, she insists, and things go predictably \u003cem>Harold and Maude\u003c/em> from there in plot terms, though Schwartzman and Kane bring their own quirks. — Bob Mondello\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "as-a-fake-hit-man-glen-powell-shows-off-his-real-star-power",
"title": "As a Fake ‘Hit Man,’ Glen Powell Shows Off His Real Star Power",
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"headTitle": "As a Fake ‘Hit Man,’ Glen Powell Shows Off His Real Star Power | KQED",
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"content": "\u003cp>It seems the film industry’s reputation is in a perpetual state of lament. \u003cem>They don’t make them like they used to\u003c/em> can be and often is applied to movie stars, special effects, non-franchise screenplays, erotic thrillers, rom-coms.\u003c/p>\n\u003cp>There’s validity to these concerns, though every now and then, a new movie comes along with a strong whiff of throwback energy — deliberate yet breezy pacing, crackling banter that’s at once contemporary and timeless, and a performance that convinces you a star’s been born right here in this moment on screen. And with it comes the warm reminder that they still \u003cem>can \u003c/em>make them like they used to, and sometimes still do. Richard Linklater’s sexy, nihilistic comedy \u003cem>Hit Man\u003c/em> is one of those movies.\u003c/p>\n\u003cp>[aside postid='arts_13958891']Glen Powell is Gary Johnson, a conventionally attractive yet aggressively plain psych and philosophy professor at the University of New Orleans. He’s the type of unassuming jean shorts-wearing guy who blends easily into the background and is perfectly content being boring; he lives alone in the suburbs with two cats named Ego and Id, drives a Honda Civic, and appears to have no social life to speak of.\u003c/p>\n\u003cp>His sole quirk, if we’re going to call it that, is that he moonlights with the New Orleans Police Department, and as the movie begins, that part-time gig suddenly kicks into overdrive. When dirtbag undercover detective Jasper (Austin Amelio) is suspended for a police brutality case, Gary replaces him as the department’s go-to fake hit man, meeting with — and arresting — all varieties of disgruntled recruiters as “Ron.” It turns out Gary relishes convincing unsuspecting strangers he’s a cold-blooded assassin. He researches his would-be “clients” to tailor his persona to their hit man fantasies, using an array of elaborate costumes, wigs, and fake makeup. For one suspect, he eerily resembles Patrick Bateman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXwa8DKIK7g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Hit Man \u003c/em>sounds wacky in premise, but it’s loosely based on a \u003ca href=\"https://www.texasmonthly.com/true-crime/hit-man-2/\">\u003cem>Texas Monthly\u003c/em> profile\u003c/a> of a real Gary Johnson, who worked on-call for the Houston Police Department and was dubbed the “Laurence Olivier” of undercover murder-for-hire investigations. Linklater and Powell, who co-wrote the screenplay, take the bones of Johnson’s story and embellish it for cinematic effect, slipping from a slick, lightly comical procedural in the first act to an erotic cat-and-mouse game by the film’s climax.\u003c/p>\n\u003cp>Like the private detective archetype in film noir, Gary is eventually hired by a gorgeous young woman, except in this case, she’s looking to off her controlling husband. Maddy (Adria Arjona) is, of course, pouty and flirty and femme fatale-y, and gets him entangled in quite a compromising pickle.\u003c/p>\n\u003cfigure id=\"attachment_13959389\" class=\"wp-caption aligncenter\" style=\"max-width: 1466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png\" alt=\"A woman leans back, eyes closed against a man in a lover's embrace.\" width=\"1466\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png 1466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-800x494.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-1020x630.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-768x475.png 768w\" sizes=\"(max-width: 1466px) 100vw, 1466px\">\u003cfigcaption class=\"wp-caption-text\">Adria Arjona as Madison and Glen Powell as Gary Johnson in ’Hit Man.‘ \u003ccite>(Brian Roedel/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story stays grounded by avoiding a few present-day pop culture clichés — thankfully there are no obvious needle-drops here — and the clear, electric chemistry between Powell and Arjona, whose dynamic evokes Jack and Karen’s frenetic dalliance in \u003cem>Out of Sight\u003c/em>.\u003c/p>\n\u003cp>But above all, this is Powell’s movie. It’s almost too easy to draw direct parallels between him and Gary, but sometimes the most obvious thing is also the most correct. The actor’s been kicking around Hollywood for some time now, more recently playing an antagonist in \u003cem>Top Gun: Maverick\u003c/em> and \u003ca href=\"https://www.nytimes.com/2024/04/23/movies/anyone-but-you-sydney-sweeney-glen-powell.html\">whipping gossip blogs into a frenzy\u003c/a> with his \u003cem>Anyone But You \u003c/em>co-star Sydney Sweeney. Yet like Gary the professor, he’s been more of a side salad than an entrée, inoffensive and fine, not exactly memorable.\u003c/p>\n\u003cp>[aside postid='arts_13959268']Ron the fake-contract-killer affords Gary the chance to tap into a part of himself that’s far more fascinating, and Powell plays this uber-confident side to the hilt. When Ron utters a corny catchphrase about pie with a straight face or goes off on a smooth tangent in great detail about how he’ll “dispose” of a body, Glen Powell, capital-M Movie Star suddenly makes sense as a concept.\u003c/p>\n\u003cp>\u003cem>Hit Man\u003c/em>’s final act is the kind you either go with or get frustrated by. It’s a big swing that tests the limits of suspending disbelief. But the movie’s driving theme reflects curiosity about the human capacity for change and self-creation, a struggle to decipher where the “real” essence of you begins and/or ends. In Gary, Linklater and Powell find a character who cleverly demonstrates how anyone, especially a movie actor, can mold the persona they wish to have — with the right tools.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hit Man’ begins streaming on Netflix on June 7, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems the film industry’s reputation is in a perpetual state of lament. \u003cem>They don’t make them like they used to\u003c/em> can be and often is applied to movie stars, special effects, non-franchise screenplays, erotic thrillers, rom-coms.\u003c/p>\n\u003cp>There’s validity to these concerns, though every now and then, a new movie comes along with a strong whiff of throwback energy — deliberate yet breezy pacing, crackling banter that’s at once contemporary and timeless, and a performance that convinces you a star’s been born right here in this moment on screen. And with it comes the warm reminder that they still \u003cem>can \u003c/em>make them like they used to, and sometimes still do. Richard Linklater’s sexy, nihilistic comedy \u003cem>Hit Man\u003c/em> is one of those movies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Glen Powell is Gary Johnson, a conventionally attractive yet aggressively plain psych and philosophy professor at the University of New Orleans. He’s the type of unassuming jean shorts-wearing guy who blends easily into the background and is perfectly content being boring; he lives alone in the suburbs with two cats named Ego and Id, drives a Honda Civic, and appears to have no social life to speak of.\u003c/p>\n\u003cp>His sole quirk, if we’re going to call it that, is that he moonlights with the New Orleans Police Department, and as the movie begins, that part-time gig suddenly kicks into overdrive. When dirtbag undercover detective Jasper (Austin Amelio) is suspended for a police brutality case, Gary replaces him as the department’s go-to fake hit man, meeting with — and arresting — all varieties of disgruntled recruiters as “Ron.” It turns out Gary relishes convincing unsuspecting strangers he’s a cold-blooded assassin. He researches his would-be “clients” to tailor his persona to their hit man fantasies, using an array of elaborate costumes, wigs, and fake makeup. For one suspect, he eerily resembles Patrick Bateman.\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/DXwa8DKIK7g'\n title='//www.youtube.com/embed/DXwa8DKIK7g'\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>\u003cem>Hit Man \u003c/em>sounds wacky in premise, but it’s loosely based on a \u003ca href=\"https://www.texasmonthly.com/true-crime/hit-man-2/\">\u003cem>Texas Monthly\u003c/em> profile\u003c/a> of a real Gary Johnson, who worked on-call for the Houston Police Department and was dubbed the “Laurence Olivier” of undercover murder-for-hire investigations. Linklater and Powell, who co-wrote the screenplay, take the bones of Johnson’s story and embellish it for cinematic effect, slipping from a slick, lightly comical procedural in the first act to an erotic cat-and-mouse game by the film’s climax.\u003c/p>\n\u003cp>Like the private detective archetype in film noir, Gary is eventually hired by a gorgeous young woman, except in this case, she’s looking to off her controlling husband. Maddy (Adria Arjona) is, of course, pouty and flirty and femme fatale-y, and gets him entangled in quite a compromising pickle.\u003c/p>\n\u003cfigure id=\"attachment_13959389\" class=\"wp-caption aligncenter\" style=\"max-width: 1466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png\" alt=\"A woman leans back, eyes closed against a man in a lover's embrace.\" width=\"1466\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png 1466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-800x494.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-1020x630.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-768x475.png 768w\" sizes=\"(max-width: 1466px) 100vw, 1466px\">\u003cfigcaption class=\"wp-caption-text\">Adria Arjona as Madison and Glen Powell as Gary Johnson in ’Hit Man.‘ \u003ccite>(Brian Roedel/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story stays grounded by avoiding a few present-day pop culture clichés — thankfully there are no obvious needle-drops here — and the clear, electric chemistry between Powell and Arjona, whose dynamic evokes Jack and Karen’s frenetic dalliance in \u003cem>Out of Sight\u003c/em>.\u003c/p>\n\u003cp>But above all, this is Powell’s movie. It’s almost too easy to draw direct parallels between him and Gary, but sometimes the most obvious thing is also the most correct. The actor’s been kicking around Hollywood for some time now, more recently playing an antagonist in \u003cem>Top Gun: Maverick\u003c/em> and \u003ca href=\"https://www.nytimes.com/2024/04/23/movies/anyone-but-you-sydney-sweeney-glen-powell.html\">whipping gossip blogs into a frenzy\u003c/a> with his \u003cem>Anyone But You \u003c/em>co-star Sydney Sweeney. Yet like Gary the professor, he’s been more of a side salad than an entrée, inoffensive and fine, not exactly memorable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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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