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"content": "\u003cp>It’s no secret that America is fascinated with cults and their scamming, grifting leaders. Viewers flock to TV series like \u003cem>Wild Wild Country\u003c/em>, \u003cem>The Vow\u003c/em> and \u003cem>Keep Sweet: Pray and Obey\u003c/em>, and elevate con artists like the \u003ca href=\"https://www.npr.org/2022/04/24/1094538889/why-documentaries-and-tv-shows-about-scammers-are-so-popular\">Tinder swindler\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13907776/elizabeth-holmes-convicted-of-fraud-is-more-fascinating-than-ever\">Elizabeth Holmes\u003c/a> as antiheroes who’ve found loopholes in American society and business. \u003c/p>\n\u003cp>If you want to find the roots of this fascination, there’s no better place to look than Northern California, with its deep history of communes and cults. At the center of the region’s first-ever international cult scandal was the Brotherhood of the New Life and its mystic leader Thomas Lake Harris, whose followers settled in 1875 into a colony in the golden hills just north of Santa Rosa.\u003c/p>\n\u003cp>\u003cem>Unholy Sensations: A Story of Sex, Scandal and California’s First Cult Scare\u003c/em> by Joshua Paddison (Oxford University Press, 2025) provides a definitive account of the forces that eventually drove Harris out of town. It also traces the genesis of Harris’ strange religious philosophies and, through surviving accounts of the colony, the coexistence of standard-issue winemaking alongside bizarre beliefs and practices. \u003c/p>\n\u003cfigure id=\"attachment_13985257\" class=\"wp-caption aligncenter\" style=\"max-width: 1183px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Alzire-Chevaillier-Thomas-Lake-Harris.jpg\" alt=\"\" width=\"1183\" height=\"839\" class=\"size-full wp-image-13985257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Alzire-Chevaillier-Thomas-Lake-Harris.jpg 1183w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Alzire-Chevaillier-Thomas-Lake-Harris-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Alzire-Chevaillier-Thomas-Lake-Harris-768x545.jpg 768w\" sizes=\"auto, (max-width: 1183px) 100vw, 1183px\">\u003cfigcaption class=\"wp-caption-text\">At right, Thomas Lake Harris, founder of the Brotherhood of the New Life; at left, Alzire Chevaillier, who mounted a campaign against him in the late 1800s. \u003ccite>(Museum of Sonoma County Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harris used his followers’ wealth to purchase land and live lavishly, in exchange for administering his belief system of “divine respiration” mixed with Swedenborgian philosophies. He held that each living person had a “celestial counterpart” in heaven, and must refrain from sexual activity until finding the right person on Earth, a vessel to their celestial counterpart, to have sex with. (This person was chosen, naturally, by Harris himself.) \u003c/p>\n\u003cp>Harris named the Santa Rosa land Fountaingrove, and built an ornate mansion for himself along with twin buildings separating his male and female followers. At an adjoining Fountaingrove winery, Harris’ protégé Kanaye Nagasawa, a young man from a wealthy samurai family now recognized as one of the first Japanese immigrants to the United States, made wines that were known internationally.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Paddison tells Harris’ story from its beginning in upstate New York, at the time a hotbed of self-proclaimed seers and prophets, including Joseph Smith, the founder of Mormonism. Harris started a colony called Mountain Cove — a phonetic precursor to Fountaingrove — and after its collapse established another on the shores of Lake Erie. So persuasive were his teachings that a member of British Parliament, Laurence Oliphant, would leave his post to join Harris.\u003c/p>\n\u003cfigure id=\"attachment_13985260\" class=\"wp-caption aligncenter\" style=\"max-width: 662px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/UnholySensations.jpg\" alt=\"\" width=\"662\" height=\"1000\" class=\"size-full wp-image-13985260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/UnholySensations.jpg 662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/UnholySensations-160x242.jpg 160w\" sizes=\"auto, (max-width: 662px) 100vw, 662px\">\u003cfigcaption class=\"wp-caption-text\">‘Unholy Sensations,’ by Joshua Paddison. \u003ccite>(Oxford University Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oliphant later accused Harris of bilking him out of all of his money, and sued, somewhat successfully, to get it back. This drove the Brotherhood of the New Life across the country to Santa Rosa, where Harris continued to write erotic poetry; claim that a female deity, Queen Lily of the Conjugal Angels, lived inside his body alongside his own spirit; and, according to accounts, overstep the physical space of visiting women.\u003c/p>\n\u003cp>One such woman, Alzire Chevaillier, visited Harris to stay at his satellite house east of town. Though she spent relatively little time with Harris himself during her long stay, when she left, she devoted her time to exposing Harris as a manipulative fraud in newspaper accounts and pleas to the governor. \u003c/p>\n\u003cp>[aside postID='forum_2010101868250']In a packed public lecture in San Francisco, Chevaillier talked of “Edenic baths given by opposite sexes to each other,” and of forced sexual relations in the colony: “Husbands and wives are separated, old men are given to comely young women, and young men to old women, according as Harris directs.” \u003c/p>\n\u003cp>For his part, Harris characterized Chevaillier’s campaign as “simply the revenge of a scorned, detested, and infuriated female.” However, later that year, he left town — first to England, then Wales, and then Manhattan, where — despite claiming he’d discovered the secret to eternal life — he died. \u003c/p>\n\u003cfigure id=\"attachment_13985249\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-85452646.jpg\" alt=\"A large red barn sits atop a small hill of green grass, with blue sky in the background\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-85452646.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-85452646-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-85452646-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-85452646-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The historic Fountaingrove round barn, built in Santa Rosa by Kanaye Nagasawa, pictured in 2009. \u003ccite>(George Rose/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As \u003cem>Unholy Sensations\u003c/em> shows, the scandal of the Brotherhood of the New Life presages “cancellation” campaigns of modern times. Instead of Twitter and Facebook, it was carried out in newspapers and broadsheets. Harris’ antagonists, driven by the ulterior motives of what we now call “going viral,” could easily have exaggerated or fabricated out of thin air their stories about rudimentary abortions and forced intergenerational sex at Fountaingrove. \u003c/p>\n\u003cp>Chevallier’s allegations, reprinted in newspapers nationwide, became the subject of vast speculation, yet any actual details of the colony’s sexual exploits remain unverified today. Paddison notes, plainly and responsibly, that with a lack of evidentiary documentation and the distance of 150 years, no one will ever know the full truth.\u003c/p>\n\u003cp>It’s this sort of careful, research-based contextualizing that helps make \u003cem>Unholy Sensations\u003c/em> a very worthy addition to the small-but-growing library of books about the Brotherhood of the New Life, including \u003cem>The Wonder Seekers of Fountaingrove\u003c/em>, by Gaye LeBaron and Bart Casey, and \u003cem>Thomas Lake Harris and His Occult Teaching\u003c/em> by W.P. Swainson. \u003c/p>\n\u003cfigure id=\"attachment_13985250\" class=\"wp-caption aligncenter\" style=\"max-width: 1181px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Fountaingrove.Winery.Gabe_.Meline.jpg\" alt=\"\" width=\"1181\" height=\"966\" class=\"size-full wp-image-13985250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Fountaingrove.Winery.Gabe_.Meline.jpg 1181w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Fountaingrove.Winery.Gabe_.Meline-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Fountaingrove.Winery.Gabe_.Meline-768x628.jpg 768w\" sizes=\"auto, (max-width: 1181px) 100vw, 1181px\">\u003cfigcaption class=\"wp-caption-text\">Scenes from inside the abandoned Fountaingrove Winery in Santa Rosa, circa 2008. Built by Thomas Lake Harris of the Brotherhood of the New Life, the winery was demolished in 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from a street named for Harris and a park named for Nagasawa, no trace of Fountaingrove’s past remains in Santa Rosa today. The abandoned Fountaingrove winery, a hangout for delinquent teens and curious photographers, was torn down in 2015. Two years later, wildfires destroyed the majestic Fountaingrove Round Barn, originally built by Nagasawa. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Unholy Sensations\u003c/em>, meanwhile, ensures the state’s first cult scandal — and our fascination — will live on. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s no secret that America is fascinated with cults and their scamming, grifting leaders. Viewers flock to TV series like \u003cem>Wild Wild Country\u003c/em>, \u003cem>The Vow\u003c/em> and \u003cem>Keep Sweet: Pray and Obey\u003c/em>, and elevate con artists like the \u003ca href=\"https://www.npr.org/2022/04/24/1094538889/why-documentaries-and-tv-shows-about-scammers-are-so-popular\">Tinder swindler\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13907776/elizabeth-holmes-convicted-of-fraud-is-more-fascinating-than-ever\">Elizabeth Holmes\u003c/a> as antiheroes who’ve found loopholes in American society and business. \u003c/p>\n\u003cp>If you want to find the roots of this fascination, there’s no better place to look than Northern California, with its deep history of communes and cults. At the center of the region’s first-ever international cult scandal was the Brotherhood of the New Life and its mystic leader Thomas Lake Harris, whose followers settled in 1875 into a colony in the golden hills just north of Santa Rosa.\u003c/p>\n\u003cp>\u003cem>Unholy Sensations: A Story of Sex, Scandal and California’s First Cult Scare\u003c/em> by Joshua Paddison (Oxford University Press, 2025) provides a definitive account of the forces that eventually drove Harris out of town. It also traces the genesis of Harris’ strange religious philosophies and, through surviving accounts of the colony, the coexistence of standard-issue winemaking alongside bizarre beliefs and practices. \u003c/p>\n\u003cfigure id=\"attachment_13985257\" class=\"wp-caption aligncenter\" style=\"max-width: 1183px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Alzire-Chevaillier-Thomas-Lake-Harris.jpg\" alt=\"\" width=\"1183\" height=\"839\" class=\"size-full wp-image-13985257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Alzire-Chevaillier-Thomas-Lake-Harris.jpg 1183w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Alzire-Chevaillier-Thomas-Lake-Harris-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Alzire-Chevaillier-Thomas-Lake-Harris-768x545.jpg 768w\" sizes=\"auto, (max-width: 1183px) 100vw, 1183px\">\u003cfigcaption class=\"wp-caption-text\">At right, Thomas Lake Harris, founder of the Brotherhood of the New Life; at left, Alzire Chevaillier, who mounted a campaign against him in the late 1800s. \u003ccite>(Museum of Sonoma County Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harris used his followers’ wealth to purchase land and live lavishly, in exchange for administering his belief system of “divine respiration” mixed with Swedenborgian philosophies. He held that each living person had a “celestial counterpart” in heaven, and must refrain from sexual activity until finding the right person on Earth, a vessel to their celestial counterpart, to have sex with. (This person was chosen, naturally, by Harris himself.) \u003c/p>\n\u003cp>Harris named the Santa Rosa land Fountaingrove, and built an ornate mansion for himself along with twin buildings separating his male and female followers. At an adjoining Fountaingrove winery, Harris’ protégé Kanaye Nagasawa, a young man from a wealthy samurai family now recognized as one of the first Japanese immigrants to the United States, made wines that were known internationally.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Paddison tells Harris’ story from its beginning in upstate New York, at the time a hotbed of self-proclaimed seers and prophets, including Joseph Smith, the founder of Mormonism. Harris started a colony called Mountain Cove — a phonetic precursor to Fountaingrove — and after its collapse established another on the shores of Lake Erie. So persuasive were his teachings that a member of British Parliament, Laurence Oliphant, would leave his post to join Harris.\u003c/p>\n\u003cfigure id=\"attachment_13985260\" class=\"wp-caption aligncenter\" style=\"max-width: 662px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/UnholySensations.jpg\" alt=\"\" width=\"662\" height=\"1000\" class=\"size-full wp-image-13985260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/UnholySensations.jpg 662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/UnholySensations-160x242.jpg 160w\" sizes=\"auto, (max-width: 662px) 100vw, 662px\">\u003cfigcaption class=\"wp-caption-text\">‘Unholy Sensations,’ by Joshua Paddison. \u003ccite>(Oxford University Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oliphant later accused Harris of bilking him out of all of his money, and sued, somewhat successfully, to get it back. This drove the Brotherhood of the New Life across the country to Santa Rosa, where Harris continued to write erotic poetry; claim that a female deity, Queen Lily of the Conjugal Angels, lived inside his body alongside his own spirit; and, according to accounts, overstep the physical space of visiting women.\u003c/p>\n\u003cp>One such woman, Alzire Chevaillier, visited Harris to stay at his satellite house east of town. Though she spent relatively little time with Harris himself during her long stay, when she left, she devoted her time to exposing Harris as a manipulative fraud in newspaper accounts and pleas to the governor. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a packed public lecture in San Francisco, Chevaillier talked of “Edenic baths given by opposite sexes to each other,” and of forced sexual relations in the colony: “Husbands and wives are separated, old men are given to comely young women, and young men to old women, according as Harris directs.” \u003c/p>\n\u003cp>For his part, Harris characterized Chevaillier’s campaign as “simply the revenge of a scorned, detested, and infuriated female.” However, later that year, he left town — first to England, then Wales, and then Manhattan, where — despite claiming he’d discovered the secret to eternal life — he died. \u003c/p>\n\u003cfigure id=\"attachment_13985249\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-85452646.jpg\" alt=\"A large red barn sits atop a small hill of green grass, with blue sky in the background\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-85452646.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-85452646-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-85452646-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-85452646-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The historic Fountaingrove round barn, built in Santa Rosa by Kanaye Nagasawa, pictured in 2009. \u003ccite>(George Rose/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As \u003cem>Unholy Sensations\u003c/em> shows, the scandal of the Brotherhood of the New Life presages “cancellation” campaigns of modern times. Instead of Twitter and Facebook, it was carried out in newspapers and broadsheets. Harris’ antagonists, driven by the ulterior motives of what we now call “going viral,” could easily have exaggerated or fabricated out of thin air their stories about rudimentary abortions and forced intergenerational sex at Fountaingrove. \u003c/p>\n\u003cp>Chevallier’s allegations, reprinted in newspapers nationwide, became the subject of vast speculation, yet any actual details of the colony’s sexual exploits remain unverified today. Paddison notes, plainly and responsibly, that with a lack of evidentiary documentation and the distance of 150 years, no one will ever know the full truth.\u003c/p>\n\u003cp>It’s this sort of careful, research-based contextualizing that helps make \u003cem>Unholy Sensations\u003c/em> a very worthy addition to the small-but-growing library of books about the Brotherhood of the New Life, including \u003cem>The Wonder Seekers of Fountaingrove\u003c/em>, by Gaye LeBaron and Bart Casey, and \u003cem>Thomas Lake Harris and His Occult Teaching\u003c/em> by W.P. Swainson. \u003c/p>\n\u003cfigure id=\"attachment_13985250\" class=\"wp-caption aligncenter\" style=\"max-width: 1181px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Fountaingrove.Winery.Gabe_.Meline.jpg\" alt=\"\" width=\"1181\" height=\"966\" class=\"size-full wp-image-13985250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Fountaingrove.Winery.Gabe_.Meline.jpg 1181w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Fountaingrove.Winery.Gabe_.Meline-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Fountaingrove.Winery.Gabe_.Meline-768x628.jpg 768w\" sizes=\"auto, (max-width: 1181px) 100vw, 1181px\">\u003cfigcaption class=\"wp-caption-text\">Scenes from inside the abandoned Fountaingrove Winery in Santa Rosa, circa 2008. Built by Thomas Lake Harris of the Brotherhood of the New Life, the winery was demolished in 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from a street named for Harris and a park named for Nagasawa, no trace of Fountaingrove’s past remains in Santa Rosa today. The abandoned Fountaingrove winery, a hangout for delinquent teens and curious photographers, was torn down in 2015. Two years later, wildfires destroyed the majestic Fountaingrove Round Barn, originally built by Nagasawa. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Unholy Sensations\u003c/em>, meanwhile, ensures the state’s first cult scandal — and our fascination — will live on. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sfmoma-thinking-big-review-claes-oldenburg-coosje-van-bruggen-fisher-collection",
"title": "At SFMOMA, a Small Show of Big Sculpture Has Even Bigger Implications",
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"headTitle": "At SFMOMA, a Small Show of Big Sculpture Has Even Bigger Implications | KQED",
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"content": "\u003cp>Art needs money. That’s especially true in the case of large public sculptures. Claes Oldenburg and Coosje van Bruggen’s \u003cem>Cupid’s Span\u003c/em>, a giant bow and arrow embedded in the grass at Rincon Park, wouldn’t have landed in San Francisco in 2002 without funding from Gap founders Donald and Doris F. Fisher.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfmoma.org/exhibition/claes-oldenburg-coosje-van-bruggen-thinking-big/\">Claes Oldenburg + Coosje van Bruggen: Thinking Big\u003c/a>\u003c/em> wouldn’t exist without the Fishers either. The \u003ca href=\"https://www.kqed.org/arts/tag/sfmoma\">San Francisco Museum of Modern Art\u003c/a>’s new exhibition is as much a story of patronage as it is of the two modernist artists.\u003c/p>\n\u003cp>[aside postID='arts_13985145']Ten years ago, \u003ca href=\"https://www.kqed.org/arts/11574512/shiny-new-sfmoma-a-whos-who-of-20th-century-art-so-whats-missing\">SFMOMA reopened\u003c/a> with nearly six times its former gallery space to accommodate the Fisher Collection. The Fishers’ 730-piece modern art collection, in a 100-year loan to SFMOMA, has thoroughly transformed the museum, much like one of Oldenburg and van Bruggen’s monumental sculptures transforms space around it. \u003c/p>\n\u003ch2>Old and new modernity\u003c/h2>\n\u003cp>\u003cem>Thinking Big\u003c/em> kicks off another kind of transformation. It’s the first gallery of \u003cem>Reimagined: The Fisher Collection at 10\u003c/em>, a full reinstallation of the collection (floors four through six are expected to reopen April 18). It will command approximately 60,000 of the museum’s 170,000 square feet of exhibition space. And the exhibition’s designers have taken the opportunity to invest a 21st-century modernity into an art museum founded in 1935.\u003c/p>\n\u003cp>Large, colorful photos stretch across the walls, illustrating Oldenburg and van Bruggen’s public sculptures in situ. Object labels feature quotes from the artists. \u003cem>Thinking Big\u003c/em> brings together small-scale models the Fishers collected of eight monumental public sculptures Oldenburg and van Bruggen made around the world. Smaller maquettes sit in glass vitrines while larger models sizable enough to look like finished sculptures sit on risers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show is a revision of what is known as a “white cube gallery,” a stark white-walled presentation of objects typically without much explanation. The inspiration for Apple Stores and third-wave coffee shops was a type of purist modernism championed by mid-20th-century art critic Clement Greenberg. For SFMOMA’s Chief Education and Community Engagement Officer Gamynne Guillotte, the white cube gallery is now a “period room,” an inherited historical vestige she describes as “an austere white space, the hard benches with no place to sit.”\u003c/p>\n\u003cp>“What is the museum of 2026?” Guillotte asks. “What does it look like if it’s not a white cube?”\u003c/p>\n\u003cfigure id=\"attachment_13985207\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/11.-Claes-Oldenburg-and-Coosje-van-Bruggen-Sculpture-in-the-Form-of-a-Match-Cover_2000.jpg\" alt=\"model of large-scale sculpture of matches and matchbook, partially burned\" width=\"2000\" height=\"1647\" class=\"size-full wp-image-13985207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/11.-Claes-Oldenburg-and-Coosje-van-Bruggen-Sculpture-in-the-Form-of-a-Match-Cover_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/11.-Claes-Oldenburg-and-Coosje-van-Bruggen-Sculpture-in-the-Form-of-a-Match-Cover_2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/11.-Claes-Oldenburg-and-Coosje-van-Bruggen-Sculpture-in-the-Form-of-a-Match-Cover_2000-768x632.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/11.-Claes-Oldenburg-and-Coosje-van-Bruggen-Sculpture-in-the-Form-of-a-Match-Cover_2000-1536x1265.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Claes Oldenburg and Coosje van Bruggen, ‘Sculpture in the Form of a Match Cover,’ 1987. \u003ccite>(SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Private money, public spaces\u003c/h2>\n\u003cp>\u003cem>Thinking Big\u003c/em> arrives in a city that is not at all sure what it wants to do about \u003ca href=\"https://www.kqed.org/arts/13982175/big-art-loop-sijbrandij-foundation-san-francisco-public-art\">public sculpture\u003c/a>. Controversially, the \u003ca href=\"https://www.kqed.org/arts/13983681/epicenter-skateboarding-book-review-jacob-rosenberg-vaillancourt-fountain-preservation\">Vaillancourt Fountain\u003c/a> is slated for storage, while a billionaire’s foundation has installed a \u003ca href=\"https://www.kqed.org/arts/13974401/r-evolution-marco-cochrane-embarcadero-plaza-nude-woman-sculpture\">sculpture of a giant nude woman\u003c/a> outside the Ferry Building.\u003c/p>\n\u003cp>The persistent — and unsubstantiated — rumor that \u003cem>Cupid’s Span\u003c/em> was commissioned to prevent any building from ever blocking the bay view from Gap’s headquarters across the street indicates a longstanding discomfort with the outsized power wealthy individuals wield to shape space for everyone.\u003c/p>\n\u003cp>Ted Mann, SFMOMA’s project assistant curator for the Fisher Collection, noted that the Fishers did not dictate the form of Cupid’s Span nor would van Bruggen and Oldenburg have accepted it: “They really insisted that they maintain full authorship and control over the work.”\u003c/p>\n\u003ch2>Oldenburg and van Bruggen\u003c/h2>\n\u003cp>Claes Oldenburg (1929–2022) and Coosje van Bruggen (1942–2009) began their three-decade-long collaboration in 1976, one year after they met. Oldenburg was installing a sculpture at the Kröller-Müller Museum in the Netherlands, where van Bruggen was working as a curator. They wed in 1977.\u003c/p>\n\u003cp>Oldenburg had built his career with renditions of everyday objects that playfully flipped their characteristics. Small objects became large. Hard objects became comically soft — e.g., \u003cem>Soft Typewriter\u003c/em>, a collapsing vinyl pillow of a nonfunctional machine. Van Bruggen studied art history at the University of Groningen before working as a curator at the Stedelijk Museum in Amsterdam.\u003c/p>\n\u003cp>Their collaborations are characterized by humor and a novel approach to monuments. (It was van Bruggen’s idea to point the arrow of \u003cem>Cupid’s Span\u003c/em> into the ground as if the god of love had crashed into San Francisco, leaving more than just his heart behind.)\u003c/p>\n\u003cp>As might be expected, a fabrication model of the sculpture is on view in \u003cem>Thinking Big\u003c/em>. “The Fisher Collection is amazing,” says Mann. “It has enabled the museum by bringing works that the museum would not otherwise have the capacity to collect from a high-value perspective.”\u003c/p>\n\u003cfigure id=\"attachment_13985206\" class=\"wp-caption aligncenter\" style=\"max-width: 1499px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/10.-Claes-Oldenburg-and-Coosje-van-Bruggen-Geometric-Apple-Core_2000.jpg\" alt=\"sculpture of apple core tilted on round pedestal\" width=\"1499\" height=\"2000\" class=\"size-full wp-image-13985206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/10.-Claes-Oldenburg-and-Coosje-van-Bruggen-Geometric-Apple-Core_2000.jpg 1499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/10.-Claes-Oldenburg-and-Coosje-van-Bruggen-Geometric-Apple-Core_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/10.-Claes-Oldenburg-and-Coosje-van-Bruggen-Geometric-Apple-Core_2000-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/10.-Claes-Oldenburg-and-Coosje-van-Bruggen-Geometric-Apple-Core_2000-1151x1536.jpg 1151w\" sizes=\"auto, (max-width: 1499px) 100vw, 1499px\">\u003cfigcaption class=\"wp-caption-text\">Claes Oldenburg and Coosje van Bruggen, ‘Geometric Apple Core,’ 1991. \u003ccite>(SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s true, we are lucky to be able to see playful works like Oldenburg and van Bruggen’s \u003cem>\u003ca href=\"https://www.sfmoma.org/artwork/FC.576/\">Inverted Tie\u003c/a>\u003c/em> in person. At the same time, we might wonder how the choices made by private collectors shape the histories of art presented by museums.\u003c/p>\n\u003cp>The full-scale \u003cem>Inverted Tie\u003c/em>, a striped necktie coiling upwards like a charmed snake, stands in the middle of Frankfurt’s banking district. Made for DZ Bank, the 39-foot-tall sculpture pokes fun at the strangled and strangling habits of white-collar life.\u003c/p>\n\u003cp>“Coosje especially talks about [their sculptures] as kind of humane statements because there is this relation to the human body,” Mann says. At full scale, their monuments skewer domesticity with humor — it’s an effect that doesn’t quite happen at two to three feet. The museum visitor instead regards someone else’s domesticity: the unusually famous and unusually valuable personal art collection of the Fishers. Did they keep the maquettes in their living room? \u003c/p>\n\u003cp>[aside postID='arts_13982175']Standing tall over the \u003cem>Cupid’s Span\u003c/em> model in SFMOMA’s gallery was its own kind of defamiliarization. It was my turn to be the giant. Then, when visiting \u003cem>Cupid’s Span\u003c/em> in Rincon Park, I wondered at my own smallness against the overwhelming largeness of art. That dual experience of donor largess — its ability to provide wonder \u003cem>and\u003c/em> its distorting scale — shapes the 21st-century art museum. It’s visible in endowed museum positions focused on donor preferences, in loans and gifts of artwork selected by donor taste, not to mention the tax breaks doled out to museum benefactors. \u003c/p>\n\u003cp>Guillotte hopes the new exhibition design choices in the Fisher Collection rehang create “an agora, like a commons.” So far, the redesign successfully addresses one of a museum’s greatest challenges: intimidation. Unlike a white cube gallery, \u003cem>Thinking Big\u003c/em> offers numerous conversation starters. No need to read Wikipedia before your visit to have something to say.\u003c/p>\n\u003cp>“We’re making something that feels not quite like a living room,” Guillotte says, “but a space of warmth and exchange, I hope.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sfmoma.org/exhibition/claes-oldenburg-coosje-van-bruggen-thinking-big/\">Claes Oldenburg + Coosje van Bruggen: Thinking Big\u003c/a>’ is now on view at the San Francisco Museum of Modern Art (151 Third St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art needs money. That’s especially true in the case of large public sculptures. Claes Oldenburg and Coosje van Bruggen’s \u003cem>Cupid’s Span\u003c/em>, a giant bow and arrow embedded in the grass at Rincon Park, wouldn’t have landed in San Francisco in 2002 without funding from Gap founders Donald and Doris F. Fisher.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfmoma.org/exhibition/claes-oldenburg-coosje-van-bruggen-thinking-big/\">Claes Oldenburg + Coosje van Bruggen: Thinking Big\u003c/a>\u003c/em> wouldn’t exist without the Fishers either. The \u003ca href=\"https://www.kqed.org/arts/tag/sfmoma\">San Francisco Museum of Modern Art\u003c/a>’s new exhibition is as much a story of patronage as it is of the two modernist artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ten years ago, \u003ca href=\"https://www.kqed.org/arts/11574512/shiny-new-sfmoma-a-whos-who-of-20th-century-art-so-whats-missing\">SFMOMA reopened\u003c/a> with nearly six times its former gallery space to accommodate the Fisher Collection. The Fishers’ 730-piece modern art collection, in a 100-year loan to SFMOMA, has thoroughly transformed the museum, much like one of Oldenburg and van Bruggen’s monumental sculptures transforms space around it. \u003c/p>\n\u003ch2>Old and new modernity\u003c/h2>\n\u003cp>\u003cem>Thinking Big\u003c/em> kicks off another kind of transformation. It’s the first gallery of \u003cem>Reimagined: The Fisher Collection at 10\u003c/em>, a full reinstallation of the collection (floors four through six are expected to reopen April 18). It will command approximately 60,000 of the museum’s 170,000 square feet of exhibition space. And the exhibition’s designers have taken the opportunity to invest a 21st-century modernity into an art museum founded in 1935.\u003c/p>\n\u003cp>Large, colorful photos stretch across the walls, illustrating Oldenburg and van Bruggen’s public sculptures in situ. Object labels feature quotes from the artists. \u003cem>Thinking Big\u003c/em> brings together small-scale models the Fishers collected of eight monumental public sculptures Oldenburg and van Bruggen made around the world. Smaller maquettes sit in glass vitrines while larger models sizable enough to look like finished sculptures sit on risers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show is a revision of what is known as a “white cube gallery,” a stark white-walled presentation of objects typically without much explanation. The inspiration for Apple Stores and third-wave coffee shops was a type of purist modernism championed by mid-20th-century art critic Clement Greenberg. For SFMOMA’s Chief Education and Community Engagement Officer Gamynne Guillotte, the white cube gallery is now a “period room,” an inherited historical vestige she describes as “an austere white space, the hard benches with no place to sit.”\u003c/p>\n\u003cp>“What is the museum of 2026?” Guillotte asks. “What does it look like if it’s not a white cube?”\u003c/p>\n\u003cfigure id=\"attachment_13985207\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/11.-Claes-Oldenburg-and-Coosje-van-Bruggen-Sculpture-in-the-Form-of-a-Match-Cover_2000.jpg\" alt=\"model of large-scale sculpture of matches and matchbook, partially burned\" width=\"2000\" height=\"1647\" class=\"size-full wp-image-13985207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/11.-Claes-Oldenburg-and-Coosje-van-Bruggen-Sculpture-in-the-Form-of-a-Match-Cover_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/11.-Claes-Oldenburg-and-Coosje-van-Bruggen-Sculpture-in-the-Form-of-a-Match-Cover_2000-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/11.-Claes-Oldenburg-and-Coosje-van-Bruggen-Sculpture-in-the-Form-of-a-Match-Cover_2000-768x632.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/11.-Claes-Oldenburg-and-Coosje-van-Bruggen-Sculpture-in-the-Form-of-a-Match-Cover_2000-1536x1265.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Claes Oldenburg and Coosje van Bruggen, ‘Sculpture in the Form of a Match Cover,’ 1987. \u003ccite>(SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Private money, public spaces\u003c/h2>\n\u003cp>\u003cem>Thinking Big\u003c/em> arrives in a city that is not at all sure what it wants to do about \u003ca href=\"https://www.kqed.org/arts/13982175/big-art-loop-sijbrandij-foundation-san-francisco-public-art\">public sculpture\u003c/a>. Controversially, the \u003ca href=\"https://www.kqed.org/arts/13983681/epicenter-skateboarding-book-review-jacob-rosenberg-vaillancourt-fountain-preservation\">Vaillancourt Fountain\u003c/a> is slated for storage, while a billionaire’s foundation has installed a \u003ca href=\"https://www.kqed.org/arts/13974401/r-evolution-marco-cochrane-embarcadero-plaza-nude-woman-sculpture\">sculpture of a giant nude woman\u003c/a> outside the Ferry Building.\u003c/p>\n\u003cp>The persistent — and unsubstantiated — rumor that \u003cem>Cupid’s Span\u003c/em> was commissioned to prevent any building from ever blocking the bay view from Gap’s headquarters across the street indicates a longstanding discomfort with the outsized power wealthy individuals wield to shape space for everyone.\u003c/p>\n\u003cp>Ted Mann, SFMOMA’s project assistant curator for the Fisher Collection, noted that the Fishers did not dictate the form of Cupid’s Span nor would van Bruggen and Oldenburg have accepted it: “They really insisted that they maintain full authorship and control over the work.”\u003c/p>\n\u003ch2>Oldenburg and van Bruggen\u003c/h2>\n\u003cp>Claes Oldenburg (1929–2022) and Coosje van Bruggen (1942–2009) began their three-decade-long collaboration in 1976, one year after they met. Oldenburg was installing a sculpture at the Kröller-Müller Museum in the Netherlands, where van Bruggen was working as a curator. They wed in 1977.\u003c/p>\n\u003cp>Oldenburg had built his career with renditions of everyday objects that playfully flipped their characteristics. Small objects became large. Hard objects became comically soft — e.g., \u003cem>Soft Typewriter\u003c/em>, a collapsing vinyl pillow of a nonfunctional machine. Van Bruggen studied art history at the University of Groningen before working as a curator at the Stedelijk Museum in Amsterdam.\u003c/p>\n\u003cp>Their collaborations are characterized by humor and a novel approach to monuments. (It was van Bruggen’s idea to point the arrow of \u003cem>Cupid’s Span\u003c/em> into the ground as if the god of love had crashed into San Francisco, leaving more than just his heart behind.)\u003c/p>\n\u003cp>As might be expected, a fabrication model of the sculpture is on view in \u003cem>Thinking Big\u003c/em>. “The Fisher Collection is amazing,” says Mann. “It has enabled the museum by bringing works that the museum would not otherwise have the capacity to collect from a high-value perspective.”\u003c/p>\n\u003cfigure id=\"attachment_13985206\" class=\"wp-caption aligncenter\" style=\"max-width: 1499px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/10.-Claes-Oldenburg-and-Coosje-van-Bruggen-Geometric-Apple-Core_2000.jpg\" alt=\"sculpture of apple core tilted on round pedestal\" width=\"1499\" height=\"2000\" class=\"size-full wp-image-13985206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/10.-Claes-Oldenburg-and-Coosje-van-Bruggen-Geometric-Apple-Core_2000.jpg 1499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/10.-Claes-Oldenburg-and-Coosje-van-Bruggen-Geometric-Apple-Core_2000-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/10.-Claes-Oldenburg-and-Coosje-van-Bruggen-Geometric-Apple-Core_2000-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/10.-Claes-Oldenburg-and-Coosje-van-Bruggen-Geometric-Apple-Core_2000-1151x1536.jpg 1151w\" sizes=\"auto, (max-width: 1499px) 100vw, 1499px\">\u003cfigcaption class=\"wp-caption-text\">Claes Oldenburg and Coosje van Bruggen, ‘Geometric Apple Core,’ 1991. \u003ccite>(SFMOMA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s true, we are lucky to be able to see playful works like Oldenburg and van Bruggen’s \u003cem>\u003ca href=\"https://www.sfmoma.org/artwork/FC.576/\">Inverted Tie\u003c/a>\u003c/em> in person. At the same time, we might wonder how the choices made by private collectors shape the histories of art presented by museums.\u003c/p>\n\u003cp>The full-scale \u003cem>Inverted Tie\u003c/em>, a striped necktie coiling upwards like a charmed snake, stands in the middle of Frankfurt’s banking district. Made for DZ Bank, the 39-foot-tall sculpture pokes fun at the strangled and strangling habits of white-collar life.\u003c/p>\n\u003cp>“Coosje especially talks about [their sculptures] as kind of humane statements because there is this relation to the human body,” Mann says. At full scale, their monuments skewer domesticity with humor — it’s an effect that doesn’t quite happen at two to three feet. The museum visitor instead regards someone else’s domesticity: the unusually famous and unusually valuable personal art collection of the Fishers. Did they keep the maquettes in their living room? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Standing tall over the \u003cem>Cupid’s Span\u003c/em> model in SFMOMA’s gallery was its own kind of defamiliarization. It was my turn to be the giant. Then, when visiting \u003cem>Cupid’s Span\u003c/em> in Rincon Park, I wondered at my own smallness against the overwhelming largeness of art. That dual experience of donor largess — its ability to provide wonder \u003cem>and\u003c/em> its distorting scale — shapes the 21st-century art museum. It’s visible in endowed museum positions focused on donor preferences, in loans and gifts of artwork selected by donor taste, not to mention the tax breaks doled out to museum benefactors. \u003c/p>\n\u003cp>Guillotte hopes the new exhibition design choices in the Fisher Collection rehang create “an agora, like a commons.” So far, the redesign successfully addresses one of a museum’s greatest challenges: intimidation. Unlike a white cube gallery, \u003cem>Thinking Big\u003c/em> offers numerous conversation starters. No need to read Wikipedia before your visit to have something to say.\u003c/p>\n\u003cp>“We’re making something that feels not quite like a living room,” Guillotte says, “but a space of warmth and exchange, I hope.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sfmoma.org/exhibition/claes-oldenburg-coosje-van-bruggen-thinking-big/\">Claes Oldenburg + Coosje van Bruggen: Thinking Big\u003c/a>’ is now on view at the San Francisco Museum of Modern Art (151 Third St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Leaves and bodies fall in \u003cem>No Other Choice\u003c/em>, Park Chan-wook’s masterfully devilish satire with a chilling autumnal wind blowing through it.\u003c/p>\n\u003cp>[aside postID='arts_13984386']“Come on, fall,” urges You Man-su (Lee Byung-hun) as he grills an eel for dinner for his family in the opening moments of Park’s film. He’s eager for the season to start but unprepared for the amount of cyclical collapse — familial, economic, even existential — that Park has in store.\u003c/p>\n\u003cp>Man-su pronounces the very thing no movie protagonist ever should: “I’ve got it all.” He lives with his wife, Miri (Son Ye-jin), and two children (Kim Woo Seung, Choi So Yul) in a handsome modernist house in the woods, with two golden retrievers. But almost as soon as he says that, Man-su’s fortunes turn. After 25 years at a paper mill, Man-su is laid off, as are many others, with little fanfare or apology. Desperation begins to set in. He’s forced to sell the home he loves so dearly, including the attached greenhouse where he tends to plants and bonsai trees. They even have to, horror of horrors, cancel Netflix.\u003c/p>\n\u003cfigure id=\"attachment_13985067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee Byung-hun in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another movie might have sunk with Man-su into bankruptcy and midlife struggle, following his quest to find a new line of work and restart his life. This is not that movie. Man-su, considering his prospects, decides he needs to better his odds of new employment. After posting a fake job listing and comparing all the incoming resumes, he decides he’s about the fifth best option for any new paper mill managerial jobs. He decides to kill the ones with better credentials.\u003c/p>\n\u003cp>The concept, a Grade-A barnburner of a movie idea, is not new. \u003cem>No Other Choice\u003c/em>, South Korea’s Oscar submission, is based on Donald Westlake’s 1997 crime novel \u003cem>The Ax\u003c/em>, which Costa-Gavras also made into a film in 2005. But Park, the filmmaker of such diabolical movies as \u003cem>Oldboy\u003c/em>, \u003cem>The Handmaiden\u003c/em> and \u003cem>Decision to Leave\u003c/em>, is exquisitely suited to the material. This is a director capable of conjuring menacing brutality with nothing but a hallway and hammer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And in \u003cem>No Other Choice\u003c/em>, he remains at the peak of his powers, archly and elegantly spinning a yarn about a murderous rampage that accumulates wider and wider reverberations. “Hitchcockian” is a term that often, understandably, finds Park. He is, like Hitch, a seemingly polite and erudite man with a latently dark imagination. But for more than two decades, Park has cut his own bloody, unyieldingly meticulous path in movies that are rarely predictable, very funny and sneakily revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13985068\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">So Yul Choi, left, and Son Ye-jin in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the delight of \u003cem>No Other Choice\u003c/em>, which Park co-wrote with Lee Kyoung-mi, Don McKellar and Jahye Lee, isn’t just seeing how Man-su’s scheme goes but how Park frames it. He is probably the preeminent filmmaker of putting wild, outrageous happenings into cleverly formal, eminently stylish imagery. As Man-su bumbles from target to target, each potential murder is a window into another family reckoning with unemployment. The way Man-su spies on them (or worse) adds delicious layers of satire. Relish, especially, the way Park uses reflections and trees.\u003c/p>\n\u003cp>How \u003cem>No Other Choice\u003c/em> puts capitalism in the crosshairs, with a handsome house in the center, will no doubt bring to mind another Korean satire: Bong Joon Ho’s \u003cem>Parasite\u003c/em>. Park had been wanting to make his film for almost two decades. Either way, the two movies would make one hell of a destabilizing double feature.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HKZpuG_ezvY\u003c/p>\n\u003cp>If \u003cem>Parasite\u003c/em> was the feat of an ensemble, \u003cem>No Other Choice\u003c/em> belongs to Lee. His Man-su is no killer at heart, and his attempts to become one are as comical as they are Dostoyevskian. The tone is so farcical that the gruesomeness of some of Man-su’s acts come slyly. How many movies have we seen about a parent driven, heroically, to extremes to defend their family? Man-su’s circumstance is frightfully understandable. “Our family is in a war,” he says. To keep them happy — in particular Miri — Man-su thinks whatever it takes is necessary.\u003c/p>\n\u003cp>But what makes \u003cem>No Other Choice\u003c/em> brilliant is how it shows that perceived predicament as a ubiquitous mistake of modern life. I won’t spoil the incredible final minutes of Park’s film, but they expand the notion of necessary termination — of a job, of a life — to automation, AI and beyond. The leaves falling in “No Other Choice” aren’t coming back in the spring.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Other Choice’ is in theaters now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Come on, fall,” urges You Man-su (Lee Byung-hun) as he grills an eel for dinner for his family in the opening moments of Park’s film. He’s eager for the season to start but unprepared for the amount of cyclical collapse — familial, economic, even existential — that Park has in store.\u003c/p>\n\u003cp>Man-su pronounces the very thing no movie protagonist ever should: “I’ve got it all.” He lives with his wife, Miri (Son Ye-jin), and two children (Kim Woo Seung, Choi So Yul) in a handsome modernist house in the woods, with two golden retrievers. But almost as soon as he says that, Man-su’s fortunes turn. After 25 years at a paper mill, Man-su is laid off, as are many others, with little fanfare or apology. Desperation begins to set in. He’s forced to sell the home he loves so dearly, including the attached greenhouse where he tends to plants and bonsai trees. They even have to, horror of horrors, cancel Netflix.\u003c/p>\n\u003cfigure id=\"attachment_13985067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee Byung-hun in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another movie might have sunk with Man-su into bankruptcy and midlife struggle, following his quest to find a new line of work and restart his life. This is not that movie. Man-su, considering his prospects, decides he needs to better his odds of new employment. After posting a fake job listing and comparing all the incoming resumes, he decides he’s about the fifth best option for any new paper mill managerial jobs. He decides to kill the ones with better credentials.\u003c/p>\n\u003cp>The concept, a Grade-A barnburner of a movie idea, is not new. \u003cem>No Other Choice\u003c/em>, South Korea’s Oscar submission, is based on Donald Westlake’s 1997 crime novel \u003cem>The Ax\u003c/em>, which Costa-Gavras also made into a film in 2005. But Park, the filmmaker of such diabolical movies as \u003cem>Oldboy\u003c/em>, \u003cem>The Handmaiden\u003c/em> and \u003cem>Decision to Leave\u003c/em>, is exquisitely suited to the material. This is a director capable of conjuring menacing brutality with nothing but a hallway and hammer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And in \u003cem>No Other Choice\u003c/em>, he remains at the peak of his powers, archly and elegantly spinning a yarn about a murderous rampage that accumulates wider and wider reverberations. “Hitchcockian” is a term that often, understandably, finds Park. He is, like Hitch, a seemingly polite and erudite man with a latently dark imagination. But for more than two decades, Park has cut his own bloody, unyieldingly meticulous path in movies that are rarely predictable, very funny and sneakily revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13985068\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">So Yul Choi, left, and Son Ye-jin in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the delight of \u003cem>No Other Choice\u003c/em>, which Park co-wrote with Lee Kyoung-mi, Don McKellar and Jahye Lee, isn’t just seeing how Man-su’s scheme goes but how Park frames it. He is probably the preeminent filmmaker of putting wild, outrageous happenings into cleverly formal, eminently stylish imagery. As Man-su bumbles from target to target, each potential murder is a window into another family reckoning with unemployment. The way Man-su spies on them (or worse) adds delicious layers of satire. Relish, especially, the way Park uses reflections and trees.\u003c/p>\n\u003cp>How \u003cem>No Other Choice\u003c/em> puts capitalism in the crosshairs, with a handsome house in the center, will no doubt bring to mind another Korean satire: Bong Joon Ho’s \u003cem>Parasite\u003c/em>. Park had been wanting to make his film for almost two decades. Either way, the two movies would make one hell of a destabilizing double feature.\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/HKZpuG_ezvY'\n title='//www.youtube.com/embed/HKZpuG_ezvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If \u003cem>Parasite\u003c/em> was the feat of an ensemble, \u003cem>No Other Choice\u003c/em> belongs to Lee. His Man-su is no killer at heart, and his attempts to become one are as comical as they are Dostoyevskian. The tone is so farcical that the gruesomeness of some of Man-su’s acts come slyly. How many movies have we seen about a parent driven, heroically, to extremes to defend their family? Man-su’s circumstance is frightfully understandable. “Our family is in a war,” he says. To keep them happy — in particular Miri — Man-su thinks whatever it takes is necessary.\u003c/p>\n\u003cp>But what makes \u003cem>No Other Choice\u003c/em> brilliant is how it shows that perceived predicament as a ubiquitous mistake of modern life. I won’t spoil the incredible final minutes of Park’s film, but they expand the notion of necessary termination — of a job, of a life — to automation, AI and beyond. The leaves falling in “No Other Choice” aren’t coming back in the spring.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Other Choice’ is in theaters now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "avatar-fire-and-ash-review-james-cameron",
"title": "‘Avatar: Fire and Ash’ Rewards Fans With 195 Minutes of Wonder and War",
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"content": "\u003cp>When I came down with a cold the day after I saw the third and latest \u003ci>Avatar\u003c/i> film, \u003ci>Fire and Ash\u003c/i>, I half-wondered if I had picked it up on Pandora.\u003c/p>\n\u003cp>The promise of Cameron’s 3D trilogy has always been immersion: immersion in a science-fiction world, in technological wonder, in a maybe future of movies. \u003cem>Avatar\u003c/em> is almost more a place to go than a movie to see.\u003c/p>\n\u003cp>[aside postID='arts_13984991']Still, it’s now been two decades since Cameron set off on this blue-tinted quest. The sheen of newness is off, or at least less pronounced, with new technological advances to contend with. \u003cem>Fire and Ash\u003c/em> is running with a behind-the-scenes video about how performance capture was used during the film’s making. The implicit message is: No, this isn’t AI.\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films, with their visual-effects wizardry and clunky revisionist Western storytelling, have always felt, most of all, like an immersion in a dream of James Cameron’s. The idea of these movies, after all, first came to Cameron, he has said, in a bioluminescent vision decades ago. At their best, the \u003cem>Avatar\u003c/em> movies have felt like an otherworldly stage for Cameron to juggle so many of the things — hulking weaponry, ecological wonder, foolhardy human arrogance — that have marked his movies.\u003c/p>\n\u003cfigure id=\"attachment_13985012\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg\" alt=\"flying alien ships in purple pink sky\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, at well more than three hours, is our longest stay yet on Pandora and the one most likely to make you ponder why you came here in the first place. These remain epics of craft and conviction. You can feel Cameron’s deep devotion to the dynamics of his central characters, even when his interest outstrips our own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s especially true in \u003cem>Fire and Ash\u003c/em>, which, following the deep-sea, family-focused part two, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922812/take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary\">The Way of Water\u003c/a>\u003c/em>, pivots to a new chapter of culture clash. It introduces a violent rival Na’vi clan whose rageful leader, Varang (Oona Chaplin), partners with Stephen Lang’s booming Col. Miles Quaritch and the human colonizers.\u003c/p>\n\u003cp>For those who have closely followed the \u003cem>Avatar\u003c/em> saga, I suspect \u003cem>Fire and Ash\u003c/em> will be a rewarding experience. Quaritch, Pandora’s answer to Robert Duvall’s Bill Kilgore in \u003cem>Apocalypse Now\u003c/em>, remains a ferociously captivating character. And the introduction of Chaplin’s Varang gives this installment an electricity that the previous two were missing.\u003c/p>\n\u003cp>But for those whose trips to Pandora have made less of an impact, \u003cem>Fire and Ash\u003c/em> is a bit like returning to a half-remembered vacation spot, only one where the local ponytail style is a little strange and everyone seems to have the waist of a supermodel.\u003c/p>\n\u003cfigure id=\"attachment_13985013\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg\" alt=\"two aliens sharing a moment on shore under moonlight\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Lo’ak, performed by Britain Dalton, left, and Tsireya, performed by Bailey Bass, in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Time has only reinforced the sense that these films are hermetically sealed movie terrariums. They’re like a $1 billion beta test that, for all their box-office success, have ultimately proven that all the design capabilities in the world can’t conjure a story of meaningful impact. The often-remarked light cultural footprint left by the first two blockbusters only hints at why these movie seem to evaporate by the ending credits. It’s the lack of inner life to any of the characters and the bland, screen-saver aesthetics. At this point in a trilogy, nine hours in, that hollowness makes \u003cem>Fire and Ash\u003c/em> feel like almost theoretical drama: more avatar than genuine article.\u003c/p>\n\u003cp>These movies have had to work extremely hard, moment to moment, just to pass as believable. But almost every gesture, every movement and every bit of dialogue has had something unnatural about it. (The high frame rate is partially to blame.) That’s made these uncanny movies a combination, in equal measure, of things you’ve never seen before, and things you can’t unsee.\u003c/p>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, scripted by Cameron, Rick Jaffa and Amanda Silver, picks up with the aftermath of the climatic battle of \u003cem>The Way of Water\u003c/em>. The Na’vi and their seafaring allies, the Metkayina clan, are nursing their wounds and recovering the human weapons that sunk to the sea floor.\u003c/p>\n\u003cp>When a rival clan called the Mangkwan or Ash People come to challenge the Na’vi, those weapons represent an ethical quandary. Should they use such firepower in their own local battles? This is a more difficult question partially because the fire-mad Mangkwan are especially bloodthirsty, led by their slinky sorceress, Vanang (played with seductive sadism by Chaplin, granddaughter of Charlie).\u003c/p>\n\u003cp>But their fight is only a piece of the larger war of \u003cem>Fire and Ash\u003c/em>. The focus of this third chapter (films four and five are said to be written but not greenlit) is interspecies coexistence. As human and Na’vi lines continue to blur, the question becomes whether the human invaders will transform Pandora or if Pandora will transform them.\u003c/p>\n\u003cfigure id=\"attachment_13985014\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg\" alt=\"aliens in military attire glower\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Lang’s character Quaritch in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That puts the focus on the three characters in various in-between states. First, there’s Spider (Jack Champion), the human son of Quaritch who lives happily with the Na’vi while breathing through a machine to survive the Pandora atmosphere. (Champion has the double misfortune of wearing a mask and looking downright puny next to the tall and slender natives.) But in \u003cem>Fire and Ash\u003c/em>, he discovers he can breathe unfiltered, a development that prompts intense military interest in a potentially hugely profitable breakthrough in Pandora assimilation.\u003c/p>\n\u003cp>There’s also Jake Sully (Sam Worthington), the former human who has made a Na’vi family with Neytiri (Zoe Saldaña). For Neytiri, the growing menace of human warfare causes her to doubt her bond with Jake. The prejudices of \u003cem>Fire and Ash\u003c/em> seep even into the home.\u003c/p>\n\u003cp>Most interesting of the three, though, remains Quaritch. He may be violently trying to subjugate Pandora but he also obviously delights in his Na’vi body and in his life on this distant moon. You can see him flinch when his commander, General Ardmore (Edie Falco), refers to their Mangkwan allies as “savages.” Meanwhile, Quaritch and Vanang hit it off like gangbusters.\u003c/p>\n\u003cp>“You’ve got new eyes, colonel,” one character tells Quaritch. “All you’ve got to do is open them.”\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films have done plenty to open eyes over the past 16 years. To new cinematic horizons, to the boundlessness of Cameron’s visions, to the Papyrus font. But the most endearing quality of \u003cem>Avatar\u003c/em> is that Cameron believes so ardently in it. I might be caught up less in the goings on Pandora, but I’m kind of glad that he is. There are worse things than dreaming up a better world, with still a fighting chance.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Avatar: Fire and Ash,’ opens in theaters Dec. 19, 2025.\u003c/i>\u003c/p>\n\n",
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"title": "‘Avatar: Fire and Ash’ Review: A Lengthy Visit to Pandora | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I came down with a cold the day after I saw the third and latest \u003ci>Avatar\u003c/i> film, \u003ci>Fire and Ash\u003c/i>, I half-wondered if I had picked it up on Pandora.\u003c/p>\n\u003cp>The promise of Cameron’s 3D trilogy has always been immersion: immersion in a science-fiction world, in technological wonder, in a maybe future of movies. \u003cem>Avatar\u003c/em> is almost more a place to go than a movie to see.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, it’s now been two decades since Cameron set off on this blue-tinted quest. The sheen of newness is off, or at least less pronounced, with new technological advances to contend with. \u003cem>Fire and Ash\u003c/em> is running with a behind-the-scenes video about how performance capture was used during the film’s making. The implicit message is: No, this isn’t AI.\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films, with their visual-effects wizardry and clunky revisionist Western storytelling, have always felt, most of all, like an immersion in a dream of James Cameron’s. The idea of these movies, after all, first came to Cameron, he has said, in a bioluminescent vision decades ago. At their best, the \u003cem>Avatar\u003c/em> movies have felt like an otherworldly stage for Cameron to juggle so many of the things — hulking weaponry, ecological wonder, foolhardy human arrogance — that have marked his movies.\u003c/p>\n\u003cfigure id=\"attachment_13985012\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg\" alt=\"flying alien ships in purple pink sky\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, at well more than three hours, is our longest stay yet on Pandora and the one most likely to make you ponder why you came here in the first place. These remain epics of craft and conviction. You can feel Cameron’s deep devotion to the dynamics of his central characters, even when his interest outstrips our own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s especially true in \u003cem>Fire and Ash\u003c/em>, which, following the deep-sea, family-focused part two, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922812/take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary\">The Way of Water\u003c/a>\u003c/em>, pivots to a new chapter of culture clash. It introduces a violent rival Na’vi clan whose rageful leader, Varang (Oona Chaplin), partners with Stephen Lang’s booming Col. Miles Quaritch and the human colonizers.\u003c/p>\n\u003cp>For those who have closely followed the \u003cem>Avatar\u003c/em> saga, I suspect \u003cem>Fire and Ash\u003c/em> will be a rewarding experience. Quaritch, Pandora’s answer to Robert Duvall’s Bill Kilgore in \u003cem>Apocalypse Now\u003c/em>, remains a ferociously captivating character. And the introduction of Chaplin’s Varang gives this installment an electricity that the previous two were missing.\u003c/p>\n\u003cp>But for those whose trips to Pandora have made less of an impact, \u003cem>Fire and Ash\u003c/em> is a bit like returning to a half-remembered vacation spot, only one where the local ponytail style is a little strange and everyone seems to have the waist of a supermodel.\u003c/p>\n\u003cfigure id=\"attachment_13985013\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg\" alt=\"two aliens sharing a moment on shore under moonlight\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Lo’ak, performed by Britain Dalton, left, and Tsireya, performed by Bailey Bass, in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Time has only reinforced the sense that these films are hermetically sealed movie terrariums. They’re like a $1 billion beta test that, for all their box-office success, have ultimately proven that all the design capabilities in the world can’t conjure a story of meaningful impact. The often-remarked light cultural footprint left by the first two blockbusters only hints at why these movie seem to evaporate by the ending credits. It’s the lack of inner life to any of the characters and the bland, screen-saver aesthetics. At this point in a trilogy, nine hours in, that hollowness makes \u003cem>Fire and Ash\u003c/em> feel like almost theoretical drama: more avatar than genuine article.\u003c/p>\n\u003cp>These movies have had to work extremely hard, moment to moment, just to pass as believable. But almost every gesture, every movement and every bit of dialogue has had something unnatural about it. (The high frame rate is partially to blame.) That’s made these uncanny movies a combination, in equal measure, of things you’ve never seen before, and things you can’t unsee.\u003c/p>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, scripted by Cameron, Rick Jaffa and Amanda Silver, picks up with the aftermath of the climatic battle of \u003cem>The Way of Water\u003c/em>. The Na’vi and their seafaring allies, the Metkayina clan, are nursing their wounds and recovering the human weapons that sunk to the sea floor.\u003c/p>\n\u003cp>When a rival clan called the Mangkwan or Ash People come to challenge the Na’vi, those weapons represent an ethical quandary. Should they use such firepower in their own local battles? This is a more difficult question partially because the fire-mad Mangkwan are especially bloodthirsty, led by their slinky sorceress, Vanang (played with seductive sadism by Chaplin, granddaughter of Charlie).\u003c/p>\n\u003cp>But their fight is only a piece of the larger war of \u003cem>Fire and Ash\u003c/em>. The focus of this third chapter (films four and five are said to be written but not greenlit) is interspecies coexistence. As human and Na’vi lines continue to blur, the question becomes whether the human invaders will transform Pandora or if Pandora will transform them.\u003c/p>\n\u003cfigure id=\"attachment_13985014\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg\" alt=\"aliens in military attire glower\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Lang’s character Quaritch in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That puts the focus on the three characters in various in-between states. First, there’s Spider (Jack Champion), the human son of Quaritch who lives happily with the Na’vi while breathing through a machine to survive the Pandora atmosphere. (Champion has the double misfortune of wearing a mask and looking downright puny next to the tall and slender natives.) But in \u003cem>Fire and Ash\u003c/em>, he discovers he can breathe unfiltered, a development that prompts intense military interest in a potentially hugely profitable breakthrough in Pandora assimilation.\u003c/p>\n\u003cp>There’s also Jake Sully (Sam Worthington), the former human who has made a Na’vi family with Neytiri (Zoe Saldaña). For Neytiri, the growing menace of human warfare causes her to doubt her bond with Jake. The prejudices of \u003cem>Fire and Ash\u003c/em> seep even into the home.\u003c/p>\n\u003cp>Most interesting of the three, though, remains Quaritch. He may be violently trying to subjugate Pandora but he also obviously delights in his Na’vi body and in his life on this distant moon. You can see him flinch when his commander, General Ardmore (Edie Falco), refers to their Mangkwan allies as “savages.” Meanwhile, Quaritch and Vanang hit it off like gangbusters.\u003c/p>\n\u003cp>“You’ve got new eyes, colonel,” one character tells Quaritch. “All you’ve got to do is open them.”\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films have done plenty to open eyes over the past 16 years. To new cinematic horizons, to the boundlessness of Cameron’s visions, to the Papyrus font. But the most endearing quality of \u003cem>Avatar\u003c/em> is that Cameron believes so ardently in it. I might be caught up less in the goings on Pandora, but I’m kind of glad that he is. There are worse things than dreaming up a better world, with still a fighting chance.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Avatar: Fire and Ash,’ opens in theaters Dec. 19, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "marty-supreme-review-timothee-chalamet-josh-safdie",
"title": "Manic ‘Marty Supreme’ Smashes the American Dream",
"publishDate": 1765996430,
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"headTitle": "Manic ‘Marty Supreme’ Smashes the American Dream | KQED",
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"content": "\u003cp>Rooting for the underdog, on the field or in a movie, is one of America’s greatest traditions. You can trace it all the way back to our time-honored, tea-stained origin story of a ragtag band of farmers and shopkeepers taking on the British Empire. \u003c/p>\n\u003cp>[aside postID='arts_13984386']\u003cem>Marty Supreme\u003c/em> (opening Dec. 25), Josh Safdie’s beautifully crafted runaway train with an astonishing Timothée Chalamet as its pedal-to-the-metal engineer, turns the basic underdog dynamic, with all its brio and bravery and desperation and bullshit, into a feverish exposé of the fury and folly of the American Dream. If that isn’t your cup of mead, friend, what kind of patriot are you?\u003c/p>\n\u003cp>Josh Safdie’s best films (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">Uncut Gems\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.npr.org/2017/08/11/542423079/stylishly-gritty-this-chase-thriller-really-is-a-good-time\">Good Time\u003c/a>\u003c/em>, co-directed with his brother Bennie, who also directed a sports movie on his own this year, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982077/smashing-machine-movie-review-mark-kerr-biopic-mma-dwayne-rock-johnson\">The Smashing Machine\u003c/a>\u003c/em>) center on men who know only one direction (forward) and one speed (faster). Are those protagonists (played by Adam Sandler and Robert Pattinson) and Marty running toward something or away from something? It’s a trick question, of course.\u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chalamet’s Marty Mauser is inspired by the late Marty Reisman, who titled his (ghostwritten) 1974 autobiography \u003cem>\u003ca href=\"https://archive.org/details/moneyplayercon00reis\">The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler\u003c/a>\u003c/em>. But we have no clue this skinny kid is an athlete when we are introduced to him in the early 1950s. He’s conning a customer in his uncle’s Lower East Side shoe store into buying the too-tight pair he’s passing off as her size.\u003c/p>\n\u003cp>She’s too savvy to fall for Marty’s spiel — much of the tension in \u003cem>Marty Supreme\u003c/em> derives from whether people will fold or stiffen in the face of his high-speed verbal onslaughts — but she’s instantly displaced by the arrival of a young woman who has some urgent footwear business with Marty that takes them downstairs to the storeroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em>’s early scenes, set in confined spaces, convey the claustrophobia driving its namesake to exceed the world’s expectations and escape the crummy, anonymous life everyone around him seems fated to. But we aren’t prepared for Marty’s lunatic ambition, and his off-putting brand of American exceptionalism in which he effortlessly shifts from hero to victim to suit his schemes.\u003c/p>\n\u003cfigure id=\"attachment_13985002\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg\" alt=\"black man and white man gesture over ping pong table in bowling alley\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, the Creator and Timothée Chalamet in a scene from ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are both charmed by and leery of this showman, gambler and flamboyant self-promoter who, we come to see, is indifferent to the damage he leaves in his wake. If Marty is a kind of forerunner for larger-than-life competitors like Muhammad Ali, Evel Knievel, Pete Rose and John McEnroe, he’s also cut from the same cloth as the “pal” who borrowed your car and lied about the scratches and dents.\u003c/p>\n\u003cp>Most filmmakers would be content to highlight the working-class desolation of Marty’s milieu, and let the high-stakes drama of far-flung table-tennis tournaments and New Jersey bowling alley scams rivet the viewer. Safdie and co-writer Ronald Bronstein bravely go further, repeatedly reminding us of Marty’s Jewishness in ways that are edgy and shocking.\u003c/p>\n\u003cp>In one scene, Marty cajoles fellow player Béla (Hungarian actor Géza Rohrig of the shattering 2015 concentration-camp saga \u003cem>\u003ca href=\"https://www.kqed.org/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul\">Son of Saul\u003c/a>\u003c/em>) to reveal the tattooed numbers on his arm to a stranger. Later, on a trip to the Middle East, Marty shamelessly chips off a piece from a pyramid that he gifts to his mother with the line, “We built it.”\u003c/p>\n\u003cfigure id=\"attachment_13985003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg\" alt=\"blond woman in hat looking up\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth Paltrow in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t enough for Marty to make some money, get his picture in the papers and travel abroad. Nor is it enough to capture the attention of a one-time movie star (Gwyneth Paltrow) with a rich husband. Sadly, he isn’t satisfied with success.\u003c/p>\n\u003cp>If I were a lousy psychotherapist, I might see \u003cem>Marty Supreme\u003c/em> as a Holocaust-revenge movie. Marty’s taking (back) what’s his (or what he sees as the Jewish people’s). The problem with that interpretation is that Marty directs his white-hot frenzy at anyone in his path, including erstwhile friends and supporters. He combines the ambition of \u003ca href=\"https://www.youtube.com/watch?v=1ADWjL42OGc\">Duddy Kravitz\u003c/a>, the zero-to-60 acceleration of the Roadrunner and the relentlessness of the Terminator with their accompanying lack of scruples.\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em> is far and away one of the best movies of 2025, and its brilliant execution extends to the way it guides your feelings toward its anti-hero. There comes a point, sooner or later, where you will stop taking Marty’s side. You may even hope for his comeuppance, as I did. And then there’s a turn where Safdie and Chalamet will likely make you root for Marty again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>American movies typically encourage us to cheer for the underdog. \u003cem>Marty Supreme\u003c/em> makes you question that simple loyalty, and ponder how much a child of immigrants who seeks to prove that the streets are paved with gold is allowed to get away with.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rooting for the underdog, on the field or in a movie, is one of America’s greatest traditions. You can trace it all the way back to our time-honored, tea-stained origin story of a ragtag band of farmers and shopkeepers taking on the British Empire. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Marty Supreme\u003c/em> (opening Dec. 25), Josh Safdie’s beautifully crafted runaway train with an astonishing Timothée Chalamet as its pedal-to-the-metal engineer, turns the basic underdog dynamic, with all its brio and bravery and desperation and bullshit, into a feverish exposé of the fury and folly of the American Dream. If that isn’t your cup of mead, friend, what kind of patriot are you?\u003c/p>\n\u003cp>Josh Safdie’s best films (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">Uncut Gems\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.npr.org/2017/08/11/542423079/stylishly-gritty-this-chase-thriller-really-is-a-good-time\">Good Time\u003c/a>\u003c/em>, co-directed with his brother Bennie, who also directed a sports movie on his own this year, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982077/smashing-machine-movie-review-mark-kerr-biopic-mma-dwayne-rock-johnson\">The Smashing Machine\u003c/a>\u003c/em>) center on men who know only one direction (forward) and one speed (faster). Are those protagonists (played by Adam Sandler and Robert Pattinson) and Marty running toward something or away from something? It’s a trick question, of course.\u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chalamet’s Marty Mauser is inspired by the late Marty Reisman, who titled his (ghostwritten) 1974 autobiography \u003cem>\u003ca href=\"https://archive.org/details/moneyplayercon00reis\">The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler\u003c/a>\u003c/em>. But we have no clue this skinny kid is an athlete when we are introduced to him in the early 1950s. He’s conning a customer in his uncle’s Lower East Side shoe store into buying the too-tight pair he’s passing off as her size.\u003c/p>\n\u003cp>She’s too savvy to fall for Marty’s spiel — much of the tension in \u003cem>Marty Supreme\u003c/em> derives from whether people will fold or stiffen in the face of his high-speed verbal onslaughts — but she’s instantly displaced by the arrival of a young woman who has some urgent footwear business with Marty that takes them downstairs to the storeroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em>’s early scenes, set in confined spaces, convey the claustrophobia driving its namesake to exceed the world’s expectations and escape the crummy, anonymous life everyone around him seems fated to. But we aren’t prepared for Marty’s lunatic ambition, and his off-putting brand of American exceptionalism in which he effortlessly shifts from hero to victim to suit his schemes.\u003c/p>\n\u003cfigure id=\"attachment_13985002\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg\" alt=\"black man and white man gesture over ping pong table in bowling alley\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, the Creator and Timothée Chalamet in a scene from ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are both charmed by and leery of this showman, gambler and flamboyant self-promoter who, we come to see, is indifferent to the damage he leaves in his wake. If Marty is a kind of forerunner for larger-than-life competitors like Muhammad Ali, Evel Knievel, Pete Rose and John McEnroe, he’s also cut from the same cloth as the “pal” who borrowed your car and lied about the scratches and dents.\u003c/p>\n\u003cp>Most filmmakers would be content to highlight the working-class desolation of Marty’s milieu, and let the high-stakes drama of far-flung table-tennis tournaments and New Jersey bowling alley scams rivet the viewer. Safdie and co-writer Ronald Bronstein bravely go further, repeatedly reminding us of Marty’s Jewishness in ways that are edgy and shocking.\u003c/p>\n\u003cp>In one scene, Marty cajoles fellow player Béla (Hungarian actor Géza Rohrig of the shattering 2015 concentration-camp saga \u003cem>\u003ca href=\"https://www.kqed.org/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul\">Son of Saul\u003c/a>\u003c/em>) to reveal the tattooed numbers on his arm to a stranger. Later, on a trip to the Middle East, Marty shamelessly chips off a piece from a pyramid that he gifts to his mother with the line, “We built it.”\u003c/p>\n\u003cfigure id=\"attachment_13985003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg\" alt=\"blond woman in hat looking up\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth Paltrow in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t enough for Marty to make some money, get his picture in the papers and travel abroad. Nor is it enough to capture the attention of a one-time movie star (Gwyneth Paltrow) with a rich husband. Sadly, he isn’t satisfied with success.\u003c/p>\n\u003cp>If I were a lousy psychotherapist, I might see \u003cem>Marty Supreme\u003c/em> as a Holocaust-revenge movie. Marty’s taking (back) what’s his (or what he sees as the Jewish people’s). The problem with that interpretation is that Marty directs his white-hot frenzy at anyone in his path, including erstwhile friends and supporters. He combines the ambition of \u003ca href=\"https://www.youtube.com/watch?v=1ADWjL42OGc\">Duddy Kravitz\u003c/a>, the zero-to-60 acceleration of the Roadrunner and the relentlessness of the Terminator with their accompanying lack of scruples.\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em> is far and away one of the best movies of 2025, and its brilliant execution extends to the way it guides your feelings toward its anti-hero. There comes a point, sooner or later, where you will stop taking Marty’s side. You may even hope for his comeuppance, as I did. And then there’s a turn where Safdie and Chalamet will likely make you root for Marty again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>American movies typically encourage us to cheer for the underdog. \u003cem>Marty Supreme\u003c/em> makes you question that simple loyalty, and ponder how much a child of immigrants who seeks to prove that the streets are paved with gold is allowed to get away with.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mia-pixley-jazz-cello-new-album-review-love-dark-bloom-berkeley-concert",
"title": "Cellist Mia Pixley Flourishes in Darkness",
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"headTitle": "Cellist Mia Pixley Flourishes in Darkness | KQED",
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"content": "\u003cp>As cold weather and lack of sunlight cause the leaves’ dominant shades of green to fade, other pigments, like the orange and yellow carotenoids and red and purple anthocyanins, become more visible. The beautiful colors lie dormant in the leaves year-round, only to be revealed by darkness.\u003c/p>\n\u003cp>This is a perfect metaphor for \u003ca href=\"https://www.instagram.com/miapixley/\">Mia Pixley\u003c/a>’s new album, \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV\">\u003ci>Love. Dark. Bloom.\u003c/i>\u003c/a> The soulful jazz singer and cellist pulls from the unknown, the absence of light and even the underworld in her latest body of work.\u003c/p>\n\u003cfigure id=\"attachment_13984301\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg\" alt=\"A woman with an afro sings while on stage.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1368x2048.jpg 1368w\" sizes=\"auto, (max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Multitalented musician Mia Pixley, seen here performing at Ciel Creative Space in Berkeley, is using her music to explore the beautiful things that can come from the darker side of life. \u003ccite>(Josh Sugitan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I naturally gravitate towards what’s unseen,” says Pixley during a phone call, explaining that her attraction to “what’s underneath” or what some people might deem as “taboo” is pushed by her understanding that darkness is a huge part of who we are as people.\u003c/p>\n\u003cp>“And so when I’m approaching my art, I’m interested in looking at these areas,” she says in reference to darkness, adding that she’s mindful of finding ways to them “zing.”\u003c/p>\n\u003cp>That alchemy is shown from the start of the nine-track album, \u003ca href=\"https://miapixley.com/contact-1\">which she’ll be performing\u003c/a> across the state, in Occidental on Dec. 20 and at \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">The Freight\u003c/a> in Berkeley on Dec. 21, the evening of the Winter Solstice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album kicks off with the song “Like Water, Like Love,” providing theme music for an adventure into the depths. The rhythmic thud of Pixley’s cello is paired with drums, creating a sound that’s tailor-made for a lovely jaunt into the unknown.\u003c/p>\n\u003cp>By the end of the song, the drums are stripped from the track and the jaunting is over; the only thing left is Pixley’s haunting hymns and the umph of the string instrument. The journey toward darkness begins.\u003c/p>\n\u003cp>The album proceeds to a jazzy, uptempo, smoky-room-sounding song in “Gimmie The Juice,” before leading us to “Dirty” (inspired by the James Baldwin’s \u003cem>Previous Condition\u003c/em>) and “Marigold” (inspired by Toni Morrison’s \u003cem>The Bluest Eye\u003c/em>).\u003c/p>\n\u003cp>Pixley, the co-organizer of \u003ca href=\"https://www.instagram.com/bushwickbookcluboakland/?hl=en\">the Bushwick Book Club Oakland\u003c/a>, periodically meets with other local musicians, reads the same book and then writes music inspired by the literature. If so moved, the artists perform their song for an audience. (Pixley, \u003ca href=\"https://nikbomusic.com/\">Nikbo \u003c/a>and \u003ca href=\"https://clairecalderon.com/\">Claire Calderón\u003c/a> also co-wrote the song “Mother Told Me,” which appears later in the album; it was inspired by the book \u003cem>Women Who Run with the Wolves\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PZxtGhk8rPA\u003c/p>\n\u003cp>Just past the halfway point of the project, the fifth song brings us into peak darkness. And it’s beautiful. The track, “A Woman, A Wind,” opens with a foot-tapping rhythm as Pixley plays the cello and sings in a gritty tone, “She was walking along the road…”\u003c/p>\n\u003cp>The song literally came to Pixley during a walk, when she had this idea about a person wearing a top hat. A people pleaser like herself, the top-hatter had to learn how to not “dance and jive for people,” she tells me. Instead, both she and the fictional character had to learn to “let it go.”\u003c/p>\n\u003cp>The driving rhythm — an urgent strumming of the cello strings that sounds like change is coming — came to her thereafter. She paired it with a benevolently delightful melody for juxtaposition. “It’s, like, free,” Pixley says in reference to the lighter side of the song’s counterbalance.\u003c/p>\n\u003cp>She laid it all down on a five-channel looper and then mapped out where the supporting artists would fit in.\u003c/p>\n\u003cp>“I do all the harmonies,” says Pixley, bringing me into the magic behind the scenes. “And then,” she says, “in the recording session is when I invite people that I think whose artistic sensibilities can take those ideas to the next level.” On this track those “artistic sensibilities” were provided by \u003ca href=\"https://linktr.ee/hapabass?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnKDAfxmOM8xik_-ykOJmi_zmfTHhPI7m0mr31HW3YzSkmOg8-vCJIcTDI77E_aem_BhexGW1hvR6uWl9-i1H_eg\">Kevin Goldberg\u003c/a>, \u003ca href=\"https://chezhanny.com/isaac_schwartz_2022.html\">Isaac Schwartz\u003c/a>, \u003ca href=\"https://www.instagram.com/mc.arthurgiuseppe/?hl=en\">Ian McArdle\u003c/a> and \u003ca href=\"https://www.instagram.com/bryancsimmons/?hl=en\">Bryan C. Simmons\u003c/a>.\u003c/p>\n\u003cp>The song is a journey and, arguably, the epitome of the album. It takes the listener from the darkness of confusion through the driving sound of change before ending on a profound note.\u003c/p>\n\u003cp>“And it don’t matter where that wind blows,” Pixley sings in an ominous tone over slow strums of the cello at the very end of the song. “Just know, it gets harder when you won’t let go.”\u003c/p>\n\u003cfigure id=\"attachment_13984302\" class=\"wp-caption aligncenter\" style=\"max-width: 774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png\" alt=\"A woman sits, posing for a photo, holding her cello vertically. \" width=\"774\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-768x774.png 768w\" sizes=\"auto, (max-width: 774px) 100vw, 774px\">\u003cfigcaption class=\"wp-caption-text\">Mia Pixley, who has been playing the cello since about the age of four, uses the instrument to guide her through dark times as an adult. \u003ccite>(Victor Xie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A psychologist as well as an artist, Pixley says her dealings in darkness in both practices “cross-pollinate.” At the heart of it all is the idea of “transforming hard things into new energy.”\u003c/p>\n\u003cp>Through listening, feeling and intuiting — trusting her intuition — Pixley gathers the information she needs for her work. “I like being \u003cem>in the things,” \u003c/em>she says of her ability to use more than her eyes to explore.\u003c/p>\n\u003cp>Artistically inclined from a young age, Pixley asserts that her time in New York studying at Columbia University nurtured her natural proclivities.\u003c/p>\n\u003cp>Born in Texas during the winter months, Pixley used to not like the cold season. But through the process of making this album, she’s shifted her relationship with winter and simultaneously broken free of repeating patterns in her life by simply “feeling” her way through it, she says.\u003c/p>\n\u003cp>“Darkness requires a different kind of sensing,” states Pixley, explaining that this season is all about hearing, tasting, feeling and “listening to ancestral guidance.” And because it requires a different set of senses, some people can find it “totally unnerving.”\u003c/p>\n\u003cp>For Pixley, navigating darkness, be it from lack of light or clarity, is like the child’s game of “Lights Out,” or Hide-And-Go-Seek in the dark. To play the game, she says, you have to move slower.\u003c/p>\n\u003cp>As the album concludes, it goes from the cold, somber depths of the songs “Dark” and “Line” to remerge with light in the final track, “Bloom.”\u003c/p>\n\u003cp>The track was originally written as a commissioned piece for famed violinist\u003ca href=\"https://www.npr.org/artists/570165123/anne-akiko-meyers\"> Anne Akiko Meyers\u003c/a>, who was moved by Pixley’s performance of “\u003ca href=\"https://www.youtube.com/watch?v=PZxtGhk8rPA\">Everything is Slow Motion\u003c/a>” at the de Young Museum with Mercury Soul.\u003c/p>\n\u003cp>“She reached out to me and said, ‘Could you write me a song?'” recalls Pixley, who then wrote “Bloom,” but Meyers never used it. “So,” explains Pixley, “I asked her permission if I could put it on this project because it felt like the right track to close the album.” Meyers agreed, under one condition: that Pixley note that it was originally penned for her.\u003c/p>\n\u003cp>“Whenever I need good external validation,” Pixley reflects, with a lightness in her tone, “I’m like, ‘But Anne believes in me.'” More seriously, she notes that reassurance is a necessity when you’re on a path through darkness.\u003c/p>\n\u003cp>“If I do this journey with openness and with surrender and with love,” says Pixley, “It’s gonna bloom.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Mia Pixley’s album \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV?si=e2bbb10ddc484e9d8d6e38eb7cac4a44&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">Love. Dark. Bloom.\u003c/a> was released on Dec. 4. She’ll be performing on Dec. 21, as a part of Barbara Higbie and Friends Winter Solstice Celebration (with Vicki Randle, Kofy Brown, Michaelle Goerlitz and Jasper Manning). Doors open at 6 p.m., and the event starts at 7 p.m. at The Freight in Berkeley (2020 Addison St.). \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">Check here for more information\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As cold weather and lack of sunlight cause the leaves’ dominant shades of green to fade, other pigments, like the orange and yellow carotenoids and red and purple anthocyanins, become more visible. The beautiful colors lie dormant in the leaves year-round, only to be revealed by darkness.\u003c/p>\n\u003cp>This is a perfect metaphor for \u003ca href=\"https://www.instagram.com/miapixley/\">Mia Pixley\u003c/a>’s new album, \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV\">\u003ci>Love. Dark. Bloom.\u003c/i>\u003c/a> The soulful jazz singer and cellist pulls from the unknown, the absence of light and even the underworld in her latest body of work.\u003c/p>\n\u003cfigure id=\"attachment_13984301\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg\" alt=\"A woman with an afro sings while on stage.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1368x2048.jpg 1368w\" sizes=\"auto, (max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Multitalented musician Mia Pixley, seen here performing at Ciel Creative Space in Berkeley, is using her music to explore the beautiful things that can come from the darker side of life. \u003ccite>(Josh Sugitan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I naturally gravitate towards what’s unseen,” says Pixley during a phone call, explaining that her attraction to “what’s underneath” or what some people might deem as “taboo” is pushed by her understanding that darkness is a huge part of who we are as people.\u003c/p>\n\u003cp>“And so when I’m approaching my art, I’m interested in looking at these areas,” she says in reference to darkness, adding that she’s mindful of finding ways to them “zing.”\u003c/p>\n\u003cp>That alchemy is shown from the start of the nine-track album, \u003ca href=\"https://miapixley.com/contact-1\">which she’ll be performing\u003c/a> across the state, in Occidental on Dec. 20 and at \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">The Freight\u003c/a> in Berkeley on Dec. 21, the evening of the Winter Solstice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album kicks off with the song “Like Water, Like Love,” providing theme music for an adventure into the depths. The rhythmic thud of Pixley’s cello is paired with drums, creating a sound that’s tailor-made for a lovely jaunt into the unknown.\u003c/p>\n\u003cp>By the end of the song, the drums are stripped from the track and the jaunting is over; the only thing left is Pixley’s haunting hymns and the umph of the string instrument. The journey toward darkness begins.\u003c/p>\n\u003cp>The album proceeds to a jazzy, uptempo, smoky-room-sounding song in “Gimmie The Juice,” before leading us to “Dirty” (inspired by the James Baldwin’s \u003cem>Previous Condition\u003c/em>) and “Marigold” (inspired by Toni Morrison’s \u003cem>The Bluest Eye\u003c/em>).\u003c/p>\n\u003cp>Pixley, the co-organizer of \u003ca href=\"https://www.instagram.com/bushwickbookcluboakland/?hl=en\">the Bushwick Book Club Oakland\u003c/a>, periodically meets with other local musicians, reads the same book and then writes music inspired by the literature. If so moved, the artists perform their song for an audience. (Pixley, \u003ca href=\"https://nikbomusic.com/\">Nikbo \u003c/a>and \u003ca href=\"https://clairecalderon.com/\">Claire Calderón\u003c/a> also co-wrote the song “Mother Told Me,” which appears later in the album; it was inspired by the book \u003cem>Women Who Run with the Wolves\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PZxtGhk8rPA'\n title='//www.youtube.com/embed/PZxtGhk8rPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just past the halfway point of the project, the fifth song brings us into peak darkness. And it’s beautiful. The track, “A Woman, A Wind,” opens with a foot-tapping rhythm as Pixley plays the cello and sings in a gritty tone, “She was walking along the road…”\u003c/p>\n\u003cp>The song literally came to Pixley during a walk, when she had this idea about a person wearing a top hat. A people pleaser like herself, the top-hatter had to learn how to not “dance and jive for people,” she tells me. Instead, both she and the fictional character had to learn to “let it go.”\u003c/p>\n\u003cp>The driving rhythm — an urgent strumming of the cello strings that sounds like change is coming — came to her thereafter. She paired it with a benevolently delightful melody for juxtaposition. “It’s, like, free,” Pixley says in reference to the lighter side of the song’s counterbalance.\u003c/p>\n\u003cp>She laid it all down on a five-channel looper and then mapped out where the supporting artists would fit in.\u003c/p>\n\u003cp>“I do all the harmonies,” says Pixley, bringing me into the magic behind the scenes. “And then,” she says, “in the recording session is when I invite people that I think whose artistic sensibilities can take those ideas to the next level.” On this track those “artistic sensibilities” were provided by \u003ca href=\"https://linktr.ee/hapabass?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnKDAfxmOM8xik_-ykOJmi_zmfTHhPI7m0mr31HW3YzSkmOg8-vCJIcTDI77E_aem_BhexGW1hvR6uWl9-i1H_eg\">Kevin Goldberg\u003c/a>, \u003ca href=\"https://chezhanny.com/isaac_schwartz_2022.html\">Isaac Schwartz\u003c/a>, \u003ca href=\"https://www.instagram.com/mc.arthurgiuseppe/?hl=en\">Ian McArdle\u003c/a> and \u003ca href=\"https://www.instagram.com/bryancsimmons/?hl=en\">Bryan C. Simmons\u003c/a>.\u003c/p>\n\u003cp>The song is a journey and, arguably, the epitome of the album. It takes the listener from the darkness of confusion through the driving sound of change before ending on a profound note.\u003c/p>\n\u003cp>“And it don’t matter where that wind blows,” Pixley sings in an ominous tone over slow strums of the cello at the very end of the song. “Just know, it gets harder when you won’t let go.”\u003c/p>\n\u003cfigure id=\"attachment_13984302\" class=\"wp-caption aligncenter\" style=\"max-width: 774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png\" alt=\"A woman sits, posing for a photo, holding her cello vertically. \" width=\"774\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-768x774.png 768w\" sizes=\"auto, (max-width: 774px) 100vw, 774px\">\u003cfigcaption class=\"wp-caption-text\">Mia Pixley, who has been playing the cello since about the age of four, uses the instrument to guide her through dark times as an adult. \u003ccite>(Victor Xie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A psychologist as well as an artist, Pixley says her dealings in darkness in both practices “cross-pollinate.” At the heart of it all is the idea of “transforming hard things into new energy.”\u003c/p>\n\u003cp>Through listening, feeling and intuiting — trusting her intuition — Pixley gathers the information she needs for her work. “I like being \u003cem>in the things,” \u003c/em>she says of her ability to use more than her eyes to explore.\u003c/p>\n\u003cp>Artistically inclined from a young age, Pixley asserts that her time in New York studying at Columbia University nurtured her natural proclivities.\u003c/p>\n\u003cp>Born in Texas during the winter months, Pixley used to not like the cold season. But through the process of making this album, she’s shifted her relationship with winter and simultaneously broken free of repeating patterns in her life by simply “feeling” her way through it, she says.\u003c/p>\n\u003cp>“Darkness requires a different kind of sensing,” states Pixley, explaining that this season is all about hearing, tasting, feeling and “listening to ancestral guidance.” And because it requires a different set of senses, some people can find it “totally unnerving.”\u003c/p>\n\u003cp>For Pixley, navigating darkness, be it from lack of light or clarity, is like the child’s game of “Lights Out,” or Hide-And-Go-Seek in the dark. To play the game, she says, you have to move slower.\u003c/p>\n\u003cp>As the album concludes, it goes from the cold, somber depths of the songs “Dark” and “Line” to remerge with light in the final track, “Bloom.”\u003c/p>\n\u003cp>The track was originally written as a commissioned piece for famed violinist\u003ca href=\"https://www.npr.org/artists/570165123/anne-akiko-meyers\"> Anne Akiko Meyers\u003c/a>, who was moved by Pixley’s performance of “\u003ca href=\"https://www.youtube.com/watch?v=PZxtGhk8rPA\">Everything is Slow Motion\u003c/a>” at the de Young Museum with Mercury Soul.\u003c/p>\n\u003cp>“She reached out to me and said, ‘Could you write me a song?'” recalls Pixley, who then wrote “Bloom,” but Meyers never used it. “So,” explains Pixley, “I asked her permission if I could put it on this project because it felt like the right track to close the album.” Meyers agreed, under one condition: that Pixley note that it was originally penned for her.\u003c/p>\n\u003cp>“Whenever I need good external validation,” Pixley reflects, with a lightness in her tone, “I’m like, ‘But Anne believes in me.'” More seriously, she notes that reassurance is a necessity when you’re on a path through darkness.\u003c/p>\n\u003cp>“If I do this journey with openness and with surrender and with love,” says Pixley, “It’s gonna bloom.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mia Pixley’s album \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV?si=e2bbb10ddc484e9d8d6e38eb7cac4a44&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">Love. Dark. Bloom.\u003c/a> was released on Dec. 4. She’ll be performing on Dec. 21, as a part of Barbara Higbie and Friends Winter Solstice Celebration (with Vicki Randle, Kofy Brown, Michaelle Goerlitz and Jasper Manning). Doors open at 6 p.m., and the event starts at 7 p.m. at The Freight in Berkeley (2020 Addison St.). \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">Check here for more information\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Emory Douglas: In Our Lifetime’ Shows the Evolution of a Revolutionary Artist",
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"content": "\u003cp>When it comes to the giants of protest art, few loom as large as \u003ca href=\"https://www.kqed.org/arts/tag/emory-douglas\">Emory Douglas\u003c/a>, the 82-year-old graphic artist, illustrator and muralist who served as the Black Panther Party’s minister of culture from 1967 to 1982. Douglas’ covers for the \u003ca href=\"https://www.kqed.org/arts/tag/black-panthers\">Black Panther Party\u003c/a> newspaper defined the look of the radical movements of the ’60s and ’70s, and more than 50 years later, those striking, high-contrast illustrations still offer a timely rebuke to police brutality and imperialism.\u003c/p>\n\u003cp>Most people know Douglas for iconic pieces like his rifle- and newspaper-toting \u003ca href=\"https://letterformarchive.org/news/emory-douglas-and-the-black-panther/?srsltid=AfmBOoqADM7tUS65s9Fz40JhaU5a-LfE8OMJynh_DkjLb3IDN2c-xxbH\">\u003cem>Paperboy\u003c/em> from 1970\u003c/a>, and in the decades since, he’s never stopped making art about liberation. It’s that more recent work, digital prints Douglas created within the last 15 years, that fills the first part of a new exhibition called \u003ca href=\"https://aaacc.org/exhibit/\">\u003cem>Emory Douglas: In Our Lifetime\u003c/em>\u003c/a>. The show, co-curated by Rio Yañez and Rosalind McGary, opened last week at San Francisco’s African American Art & Culture Complex. A second part of the exhibition, with Douglas’ archival works, will open at the same venue in February.\u003c/p>\n\u003cfigure id=\"attachment_13984783\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-scaled.jpg\" alt=\"An illustration of a little Black girl kissing her mother on the cheek. \" width=\"2560\" height=\"1762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-2000x1377.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-1536x1057.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-2048x1410.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother’s Love’ by Emory Douglas. \u003ccite>(Emory Douglas )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many of Douglas’ classic illustrations of armed Black Panthers focus on the grit and righteous rage required to resist a violent status quo, in these new, vibrant, large-scale digital prints, Douglas softens his gaze and sets his sights on a hopeful future. Many of his subjects are women and children, who he renders in tropical oranges, leafy greens and ocean blues, often wearing West African textiles inspired by his international travels to build solidarity with revolutionary artists from around the world.\u003c/p>\n\u003cp>In the exhibition, Douglas reimagines his \u003cem>Paperboy\u003c/em> as \u003cem>Paper Girl\u003c/em>, who, like the original, holds a newspaper that reads “All power to the people.” Instead of a gun, she has an iPhone, a nod to the way social media accelerated more recent movements like Black Lives Matter.\u003c/p>\n\u003cp>A large poster of Douglas’ \u003ca href=\"https://www.moma.org/d/pdfs/W1siZiIsIjIwMjEvMTAvMTMvMnYzcDk1MzVuc19FbW9yeV9Eb3VnbGFzX1BvbGl0aWNhbF9BcnRpc3RfTWFuaWZlc3RvLnBkZiJdXQ/Emory-Douglas_Political-Artist-Manifesto.pdf?sha=b60562e103f20e79\">Political Artist Manifesto\u003c/a> greets visitors at the exhibition entrance, providing a lens through which to take in his commanding visuals. Douglas wrote the document in his Panther days, and it offers 12 points of advice: “Create art of social concerns that even a child can understand,” offers one. “Be prepared if necessary to defend and explain what you communicate through your art,” reads another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The document invites visitors to reflect on how images can move hearts and inspire collective action. Indeed, it was Douglas’ imagery that helped spread the message of the Panthers’ groundbreaking social programs, cementing not only a sense of empowerment but also a timeless cool that’s drawn younger generations to their legacy and ideas.\u003c/p>\n\u003cfigure id=\"attachment_13984784\" class=\"wp-caption aligncenter\" style=\"max-width: 1810px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-scaled.jpg\" alt=\"An illustration of a Palestinian person clutching an olive tree, and their body turns into roots going into the ground. \" width=\"1810\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-scaled.jpg 1810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-2000x2829.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-768x1086.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-1086x1536.jpg 1086w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-1448x2048.jpg 1448w\" sizes=\"auto, (max-width: 1810px) 100vw, 1810px\">\u003cfigcaption class=\"wp-caption-text\">‘Free the Land’ by Emory Douglas. \u003ccite>(Emory Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By centering children, Douglas’ newer pieces like \u003cem>Mother’s Love\u003c/em> — of a little girl kissing her mother on the cheek — evoke the feeling that revolutionary change is an act of love for the next generation. Other images, like a little boy whispering in a girl’s ear in \u003cem>Educate to Liberate\u003c/em>, remind viewers that a world in which children can safely learn and play is still out of reach for many in the U.S. and abroad.\u003c/p>\n\u003cp>Several of the pieces in \u003cem>In Our Lifetime\u003c/em> spotlight Palestinians’ resistance against displacement, apartheid and mass killings at the hands of Israel. \u003cem>Free the Land by Any Means Necessary\u003c/em> features a Palestinian man in a keffiyeh shooting a slingshot; in another piece a person hugs an olive tree, their legs turning into roots that connect to the land. [aside postid='arts_13984035']\u003c/p>\n\u003cp>There’s a famous quote from author Tony Cade Bambara that often gets repeated in activist circles, that it’s the role of the artist to “make the revolution irresistible.” For over six decades, Emory Douglas has been showing creatives how to do just that. Building upon the 12 lessons in his Political Artist Manifesto, \u003cem>Emory Douglas: In Our Lifetime\u003c/em> adds a 13th point: To never stop evolving.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://aaacc.org/exhibit/\">Emory Douglas: In Our Lifetime\u003c/a>’ is on view at the African American Art & Culture Complex (762 Fulton Street, San Francisco) through October 2026. Part two of the exhibit opens in February.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to the giants of protest art, few loom as large as \u003ca href=\"https://www.kqed.org/arts/tag/emory-douglas\">Emory Douglas\u003c/a>, the 82-year-old graphic artist, illustrator and muralist who served as the Black Panther Party’s minister of culture from 1967 to 1982. Douglas’ covers for the \u003ca href=\"https://www.kqed.org/arts/tag/black-panthers\">Black Panther Party\u003c/a> newspaper defined the look of the radical movements of the ’60s and ’70s, and more than 50 years later, those striking, high-contrast illustrations still offer a timely rebuke to police brutality and imperialism.\u003c/p>\n\u003cp>Most people know Douglas for iconic pieces like his rifle- and newspaper-toting \u003ca href=\"https://letterformarchive.org/news/emory-douglas-and-the-black-panther/?srsltid=AfmBOoqADM7tUS65s9Fz40JhaU5a-LfE8OMJynh_DkjLb3IDN2c-xxbH\">\u003cem>Paperboy\u003c/em> from 1970\u003c/a>, and in the decades since, he’s never stopped making art about liberation. It’s that more recent work, digital prints Douglas created within the last 15 years, that fills the first part of a new exhibition called \u003ca href=\"https://aaacc.org/exhibit/\">\u003cem>Emory Douglas: In Our Lifetime\u003c/em>\u003c/a>. The show, co-curated by Rio Yañez and Rosalind McGary, opened last week at San Francisco’s African American Art & Culture Complex. A second part of the exhibition, with Douglas’ archival works, will open at the same venue in February.\u003c/p>\n\u003cfigure id=\"attachment_13984783\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984783\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-scaled.jpg\" alt=\"An illustration of a little Black girl kissing her mother on the cheek. \" width=\"2560\" height=\"1762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-2000x1377.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-1536x1057.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Mothers-Love-by-Emory-Douglas-2048x1410.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother’s Love’ by Emory Douglas. \u003ccite>(Emory Douglas )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many of Douglas’ classic illustrations of armed Black Panthers focus on the grit and righteous rage required to resist a violent status quo, in these new, vibrant, large-scale digital prints, Douglas softens his gaze and sets his sights on a hopeful future. Many of his subjects are women and children, who he renders in tropical oranges, leafy greens and ocean blues, often wearing West African textiles inspired by his international travels to build solidarity with revolutionary artists from around the world.\u003c/p>\n\u003cp>In the exhibition, Douglas reimagines his \u003cem>Paperboy\u003c/em> as \u003cem>Paper Girl\u003c/em>, who, like the original, holds a newspaper that reads “All power to the people.” Instead of a gun, she has an iPhone, a nod to the way social media accelerated more recent movements like Black Lives Matter.\u003c/p>\n\u003cp>A large poster of Douglas’ \u003ca href=\"https://www.moma.org/d/pdfs/W1siZiIsIjIwMjEvMTAvMTMvMnYzcDk1MzVuc19FbW9yeV9Eb3VnbGFzX1BvbGl0aWNhbF9BcnRpc3RfTWFuaWZlc3RvLnBkZiJdXQ/Emory-Douglas_Political-Artist-Manifesto.pdf?sha=b60562e103f20e79\">Political Artist Manifesto\u003c/a> greets visitors at the exhibition entrance, providing a lens through which to take in his commanding visuals. Douglas wrote the document in his Panther days, and it offers 12 points of advice: “Create art of social concerns that even a child can understand,” offers one. “Be prepared if necessary to defend and explain what you communicate through your art,” reads another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The document invites visitors to reflect on how images can move hearts and inspire collective action. Indeed, it was Douglas’ imagery that helped spread the message of the Panthers’ groundbreaking social programs, cementing not only a sense of empowerment but also a timeless cool that’s drawn younger generations to their legacy and ideas.\u003c/p>\n\u003cfigure id=\"attachment_13984784\" class=\"wp-caption aligncenter\" style=\"max-width: 1810px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-scaled.jpg\" alt=\"An illustration of a Palestinian person clutching an olive tree, and their body turns into roots going into the ground. \" width=\"1810\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-scaled.jpg 1810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-2000x2829.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-768x1086.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-1086x1536.jpg 1086w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Free-The-Land-by-Emory-Douglas-1448x2048.jpg 1448w\" sizes=\"auto, (max-width: 1810px) 100vw, 1810px\">\u003cfigcaption class=\"wp-caption-text\">‘Free the Land’ by Emory Douglas. \u003ccite>(Emory Douglas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By centering children, Douglas’ newer pieces like \u003cem>Mother’s Love\u003c/em> — of a little girl kissing her mother on the cheek — evoke the feeling that revolutionary change is an act of love for the next generation. Other images, like a little boy whispering in a girl’s ear in \u003cem>Educate to Liberate\u003c/em>, remind viewers that a world in which children can safely learn and play is still out of reach for many in the U.S. and abroad.\u003c/p>\n\u003cp>Several of the pieces in \u003cem>In Our Lifetime\u003c/em> spotlight Palestinians’ resistance against displacement, apartheid and mass killings at the hands of Israel. \u003cem>Free the Land by Any Means Necessary\u003c/em> features a Palestinian man in a keffiyeh shooting a slingshot; in another piece a person hugs an olive tree, their legs turning into roots that connect to the land. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a famous quote from author Tony Cade Bambara that often gets repeated in activist circles, that it’s the role of the artist to “make the revolution irresistible.” For over six decades, Emory Douglas has been showing creatives how to do just that. Building upon the 12 lessons in his Political Artist Manifesto, \u003cem>Emory Douglas: In Our Lifetime\u003c/em> adds a 13th point: To never stop evolving.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://aaacc.org/exhibit/\">Emory Douglas: In Our Lifetime\u003c/a>’ is on view at the African American Art & Culture Complex (762 Fulton Street, San Francisco) through October 2026. Part two of the exhibit opens in February.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "zodiac-killer-project-documentary-review-roxie-san-francisco-charlie-shackleton",
"title": "The Roxie Is About to Screen the Oddest Zodiac Killer Film Yet",
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"content": "\u003cp>What do you do when you’ve meticulously planned out a \u003ca href=\"https://www.kqed.org/arts/tag/documentaries\">documentary\u003c/a>, only to fail to acquire the rights to the book it’s based on at the very last moment? A lot of filmmakers would throw their hands up, have nervous breakdowns and then go back to the drawing board.\u003c/p>\n\u003cp>When that exact scenario happened to British producer/director Charlie Shackleton, he opted instead to make a documentary about the documentary that he’s never going to make. Quite wonderfully, something about the process of breaking down his original film, scene by scene, allowed Shackleton to realize that, had it ever been made, his project would have conformed to formulas, reverted to clichés and, in some cases, actively obscured the truth for the sake of dramatic narrative. Why? Because the film was going to be yet another true crime documentary.\u003c/p>\n\u003cp>[aside postid='arts_13966297']Shackleton’s project was going to be about the \u003ca href=\"https://www.kqed.org/arts/tag/zodiac-killer\">Zodiac Killer\u003c/a>. Or rather, about one traffic cop’s dogged pursuit of a man he \u003cem>believed\u003c/em> was the Zodiac Killer. That cop, Lyndon E. Lafferty, wrote \u003cem>The Zodiac Killer Cover-Up, AKA The Silenced Badge\u003c/em> about what he believed to be an active cover-up within the Solano County sheriff’s office. Lafferty’s 2012 book remains widely available today, though the man he believed was the Zodiac is rarely considered \u003ca href=\"https://www.kqed.org/arts/13904265/zodiac-killer-gary-francis-poste-cypher-dna-other-suspects\">one of the most likely suspects\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Zodiac Killer Project\u003c/em> distinguishes itself from the plethora of other documentaries about the Bay Area serial killer by featuring the Zodiac only as a kind of afterthought. There are no details here about the actual crimes, no mention of the victims, and no mind given to the cops who were actually assigned to investigate the case. At one point, when a voice off-camera urges Shackleton to share details about the crimes, the filmmaker replies: “That’s the only saving grace of not getting to make the film. We don’t have to retell the story of the Zodiac Killer for the thousandth time.”\u003c/p>\n\u003cfigure id=\"attachment_13976765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point.png\" alt=\"A thin white man with red hair talking in a sound booth while wearing headphones. \" width=\"2000\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point-1020x626.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point-768x472.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point-1536x943.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point-1920x1179.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Charlie Shackleton providing disarmingly conversational narration in ‘Zodiac Killer Project.’\u003c/figcaption>\u003c/figure>\n\u003cp>Without doubt, the best parts of \u003cem>Zodiac Killer Project\u003c/em> emerge when Shackleton, in a disarmingly conversational style, breaks down the tropes and visual standards we have come to expect from contemporary true crime documentaries. At one point, he describes how the opening title sequence of his documentary “kind of would have made itself.” He goes on to compare the (incredibly similar) title sequences of \u003cem>The Most Dangerous Animal of All\u003c/em>, \u003cem>The Jinx\u003c/em>, \u003cem>Evil Genius\u003c/em>, \u003cem>Night Stalker: The Hunt for a Serial Killer\u003c/em>, \u003cem>Don’t F–k With Cats\u003c/em>, \u003cem>I’ll Be Gone in the Dark\u003c/em>, \u003cem>The Case Against Adnan Syed\u003c/em>, \u003cem>Amanda Knox\u003c/em>, \u003cem>Making a Murderer\u003c/em>, as well as \u003cem>Keep Sweet, Pray and Obey\u003c/em> and \u003cem>I Love You, Now Die\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I feel like all these things are basically built to the same model now,” Shackleton says over clips from each show. “The same sorts of images pop up again and again. You’ve got, like, birds taking flight, and a shadowy man walking away, and kind of country-inflected music with a dark edge. Everything is sort of vague and fluid … Lots of tiny text, too small for human eyes … It kind of sets up everything and nothing.”\u003c/p>\n\u003cp>Shackleton does this at every step of the documentary, analyzing the use of generic true crime imagery (footage of tape recorders and microfiche rolling, interrogation lights swinging, etc.), the inclusion of weathered home movie footage, interviews with stern cops (“the second you point a camera at them, they know what to do”), and interviews with people talking about how safe their neighborhood felt before their troubles began. His commentary about the obligatory black-and-white wall of victims’ photos that shows up at the end of most true crime documentaries is particularly biting.\u003c/p>\n\u003cp>[aside postid='arts_13904265']\u003cem>Zodiac Killer Project\u003c/em> is not exactly a thrill-a-minute (humans are rarely seen on-screen), but it is an amusing deconstruction of something most of us watch. That this deconstruction comes from a man who clearly also loves the true crime genre helps enormously. As a viewer, it’s fun to acknowledge the absurdity of all of this conformity without also feeling bad about still enjoying true crime shows and movies. Shackleton clearly sets this tone. For example, after offering up some particularly harsh words about the ethics of Netflix’s \u003ca href=\"https://www.netflix.com/search?q=dahmer&jbv=81287562\">\u003cem>Dahmer\u003c/em>\u003c/a> series, Shackleton also exclaims, “Yeah, it was good. Evan Peters!”\u003c/p>\n\u003cp>\u003cem>Zodiac Killer Project\u003c/em> is a documentary that would make a great addition to film classes everywhere. But because it doesn’t take a wholly academic approach, the film also provides true crime fans with a very amusing bingo card for use with all future documentary viewings. (I have watched two films since viewing \u003cem>Zodiac Killer Project\u003c/em> and both viewings were indelibly impacted by Shackleton’s cynical observations.)\u003c/p>\n\u003cp>If you are looking for a documentary that will explain the Zodiac Killer case in depth, this is not the one for you. If you are a true crime nerd who already knows everything about this case and gobbles up whatever you can find on the topic, \u003cem>Zodiac Killer Project\u003c/em> offers a refreshing and enlightening approach that will change how you interact with the genre moving forward. The kicker is, the killers may no longer be the point.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/sf-docfest-2025-zodiac-killer-project/\">‘Zodiac Killer Project’\u003c/a> is screening at the Roxie (3125 16th St., San Francisco), Nov. 24—30, 2025. Director Charlie Shackleton will appear in person on Nov. 24.\u003c/em>\u003c/p>\n\n",
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"title": "Documentary Review: ‘Zodiac Killer Project’ at SF DocFest | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you do when you’ve meticulously planned out a \u003ca href=\"https://www.kqed.org/arts/tag/documentaries\">documentary\u003c/a>, only to fail to acquire the rights to the book it’s based on at the very last moment? A lot of filmmakers would throw their hands up, have nervous breakdowns and then go back to the drawing board.\u003c/p>\n\u003cp>When that exact scenario happened to British producer/director Charlie Shackleton, he opted instead to make a documentary about the documentary that he’s never going to make. Quite wonderfully, something about the process of breaking down his original film, scene by scene, allowed Shackleton to realize that, had it ever been made, his project would have conformed to formulas, reverted to clichés and, in some cases, actively obscured the truth for the sake of dramatic narrative. Why? Because the film was going to be yet another true crime documentary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Shackleton’s project was going to be about the \u003ca href=\"https://www.kqed.org/arts/tag/zodiac-killer\">Zodiac Killer\u003c/a>. Or rather, about one traffic cop’s dogged pursuit of a man he \u003cem>believed\u003c/em> was the Zodiac Killer. That cop, Lyndon E. Lafferty, wrote \u003cem>The Zodiac Killer Cover-Up, AKA The Silenced Badge\u003c/em> about what he believed to be an active cover-up within the Solano County sheriff’s office. Lafferty’s 2012 book remains widely available today, though the man he believed was the Zodiac is rarely considered \u003ca href=\"https://www.kqed.org/arts/13904265/zodiac-killer-gary-francis-poste-cypher-dna-other-suspects\">one of the most likely suspects\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Zodiac Killer Project\u003c/em> distinguishes itself from the plethora of other documentaries about the Bay Area serial killer by featuring the Zodiac only as a kind of afterthought. There are no details here about the actual crimes, no mention of the victims, and no mind given to the cops who were actually assigned to investigate the case. At one point, when a voice off-camera urges Shackleton to share details about the crimes, the filmmaker replies: “That’s the only saving grace of not getting to make the film. We don’t have to retell the story of the Zodiac Killer for the thousandth time.”\u003c/p>\n\u003cfigure id=\"attachment_13976765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13976765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point.png\" alt=\"A thin white man with red hair talking in a sound booth while wearing headphones. \" width=\"2000\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point-1020x626.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point-768x472.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point-1536x943.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Shackleton-point-1920x1179.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Charlie Shackleton providing disarmingly conversational narration in ‘Zodiac Killer Project.’\u003c/figcaption>\u003c/figure>\n\u003cp>Without doubt, the best parts of \u003cem>Zodiac Killer Project\u003c/em> emerge when Shackleton, in a disarmingly conversational style, breaks down the tropes and visual standards we have come to expect from contemporary true crime documentaries. At one point, he describes how the opening title sequence of his documentary “kind of would have made itself.” He goes on to compare the (incredibly similar) title sequences of \u003cem>The Most Dangerous Animal of All\u003c/em>, \u003cem>The Jinx\u003c/em>, \u003cem>Evil Genius\u003c/em>, \u003cem>Night Stalker: The Hunt for a Serial Killer\u003c/em>, \u003cem>Don’t F–k With Cats\u003c/em>, \u003cem>I’ll Be Gone in the Dark\u003c/em>, \u003cem>The Case Against Adnan Syed\u003c/em>, \u003cem>Amanda Knox\u003c/em>, \u003cem>Making a Murderer\u003c/em>, as well as \u003cem>Keep Sweet, Pray and Obey\u003c/em> and \u003cem>I Love You, Now Die\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I feel like all these things are basically built to the same model now,” Shackleton says over clips from each show. “The same sorts of images pop up again and again. You’ve got, like, birds taking flight, and a shadowy man walking away, and kind of country-inflected music with a dark edge. Everything is sort of vague and fluid … Lots of tiny text, too small for human eyes … It kind of sets up everything and nothing.”\u003c/p>\n\u003cp>Shackleton does this at every step of the documentary, analyzing the use of generic true crime imagery (footage of tape recorders and microfiche rolling, interrogation lights swinging, etc.), the inclusion of weathered home movie footage, interviews with stern cops (“the second you point a camera at them, they know what to do”), and interviews with people talking about how safe their neighborhood felt before their troubles began. His commentary about the obligatory black-and-white wall of victims’ photos that shows up at the end of most true crime documentaries is particularly biting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Zodiac Killer Project\u003c/em> is not exactly a thrill-a-minute (humans are rarely seen on-screen), but it is an amusing deconstruction of something most of us watch. That this deconstruction comes from a man who clearly also loves the true crime genre helps enormously. As a viewer, it’s fun to acknowledge the absurdity of all of this conformity without also feeling bad about still enjoying true crime shows and movies. Shackleton clearly sets this tone. For example, after offering up some particularly harsh words about the ethics of Netflix’s \u003ca href=\"https://www.netflix.com/search?q=dahmer&jbv=81287562\">\u003cem>Dahmer\u003c/em>\u003c/a> series, Shackleton also exclaims, “Yeah, it was good. Evan Peters!”\u003c/p>\n\u003cp>\u003cem>Zodiac Killer Project\u003c/em> is a documentary that would make a great addition to film classes everywhere. But because it doesn’t take a wholly academic approach, the film also provides true crime fans with a very amusing bingo card for use with all future documentary viewings. (I have watched two films since viewing \u003cem>Zodiac Killer Project\u003c/em> and both viewings were indelibly impacted by Shackleton’s cynical observations.)\u003c/p>\n\u003cp>If you are looking for a documentary that will explain the Zodiac Killer case in depth, this is not the one for you. If you are a true crime nerd who already knows everything about this case and gobbles up whatever you can find on the topic, \u003cem>Zodiac Killer Project\u003c/em> offers a refreshing and enlightening approach that will change how you interact with the genre moving forward. The kicker is, the killers may no longer be the point.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/sf-docfest-2025-zodiac-killer-project/\">‘Zodiac Killer Project’\u003c/a> is screening at the Roxie (3125 16th St., San Francisco), Nov. 24—30, 2025. Director Charlie Shackleton will appear in person on Nov. 24.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "osato-quiet-conversations-maya-fuji-shingo-yamazaki-glass-rice-sf-review",
"title": "In 'Osato/Quiet Conversations,' Home Is Ramune Bottles and Sailor Moon",
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"headTitle": "In ‘Osato/Quiet Conversations,’ Home Is Ramune Bottles and Sailor Moon | KQED",
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"content": "\u003cp>In a reception celebrated with sake and handmade onigiri, the San Francisco gallery Glass Rice opened \u003ca href=\"https://www.glassrice.com/current.html\">\u003ci>Osato/Quiet Conversations\u003c/i>\u003c/a>, a duo presentation of work by Maya Fuji and Shingo Yamazaki, in late October. The exhibition features delicate paintings by each artist, in addition to an immersive VR recreation of Fuji’s grandmother’s house in Kanazawa, Japan.\u003c/p>\n\u003cp>\u003ci>Osato/Quiet Conversations\u003c/i> represents a soft gaze inward and backwards in search of home, or “osato,” the Japanese term for a person’s hometown or upbringing. In the exhibition, Fuji and Yamazaki both explore the remaking of memories held within familial spaces. Mundane objects like house slippers, Pokémon cards and tissue boxes act as quiet elements that both evoke memory and give it texture.\u003c/p>\n\u003cp>Fuji, for instance, uses family oral history, photographs and home videos to create new moments within her grandmother’s house. Meanwhile, Yamazaki, who was born and raised in Honolulu, paints quiet indoor scenes entwined with distinctly Hawaiian motifs. As a second-generation Japanese and Korean American “without full access to his Zainichi (Koreans living in Japan) lineage,” as stated in the exhibition’s press release, he renegotiates feelings of longing and a fragmented sense of belonging through visually complicated glimpses into “home.”\u003c/p>\n\u003cp>Both artists quietly interweave artifacts of growing up as mixed-race Asians in America into their work, gesturing towards the intimacy of interior spaces. Through these cultural references, Fuji and Yamazaki call upon the ability of mundane objects to elicit a viewer’s memories, making those experiences integral to the meaning-making of the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13983583\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23.jpg\" alt=\"Painting: A hand holds a marble taken from a Japanese soda bottle on the floor below.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maya Fuji, ‘Finally Mine,’ 2025. \u003ccite>(Shaun Roberts, courtesy of Glass Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Fuji’s painting, \u003ci>Marble of My Eye\u003c/i>, soft hands cradle a precious glass ball from within a Ramune Japanese soda bottle, reminding me of my own childhood memories of trying to get that ball out of the bottle with my brother. In Yamazaki’s \u003ci>Front of House\u003c/i> — a double meaning, as the depicted space functions as both his family’s restaurant and home — Yamazaki renders a distinct still from \u003ci>Sailor Moon\u003c/i> on a TV set, juxtaposing that with a vanitas-style arrangement of hurriedly written notes cluttered around a cash register.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the opening, the exhibition sparked so many conversations about shared memories of watching shows like \u003ci>Sailor Moon\u003c/i> and \u003ci>Pokémon\u003c/i>. “A lot of the things they reference in their paintings from when we were growing up in the ’90s and early 2000s hits really close to home for me too,” says Glass Rice director Cecilia Chia. “I really love these layers and meanings of home as what kind of defines your character.”\u003c/p>\n\u003cp>A beaded red curtain in the back of the gallery marks the threshold to Fuji’s virtual world. In this VR environment, created in Fuji’s signature style (developed in partnership with VR developer Storm Griffith), viewers navigate the quiet Kanazawa countryside home of the artist’s grandmother depicted in so many of the paintings on view.\u003c/p>\n\u003cp>[aside postID='arts_13981726']Visitors can virtually move through the house and pick up the objects that fill the space — like plates of steamed buns or maneki neko Lucky Cat figurines — and overhear the familiar sounds of family chatter, a home video and the gentle hum of a Kanazawa street.\u003c/p>\n\u003cp>Going through the virtual house, I could almost imagine myself embodied as one of the soft, sensual, almost divine feminine figures that are signature to Fuji’s work, like the central figures in pieces like \u003ci>Listening・聞き耳\u003c/i>, her largest painting on view. By activating Fuji’s paintings in an immersive virtual space, memory becomes something that is alive, awake and even playful.\u003c/p>\n\u003cfigure id=\"attachment_13983585\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983585\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12.jpg\" alt=\"Painting: Inside a traditional Japanese room, two nude Asian women. One cleans the ears of the other with a pick while her companion reclines in her lap.\" width=\"2000\" height=\"1176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-1536x903.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maya Fuji, ‘Listening・聞き耳,’ 2025. \u003ccite>(Shaun Roberts, courtesy of Glass Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Home is what we make of it. In the end, \u003ci>Osato/Quiet Conversations\u003c/i> comes to no distinct answers about home, belonging or what it means to represent those things. Fuji and Yamazaki never represent feelings of cultural in-betweenness as “half” or otherwise un-whole. Instead, their paintings create generative representations of hybridity and overlap, whether that be through Yamazaki’s obscuring hazy washes and translucent lines or Fuji’s playful fusing of contemporary and Y2K aesthetics with traditional Japanese objects and folklore.\u003c/p>\n\u003cp>Both artists reflect the hazy and disjointed nature of memory and family storytelling while also envisioning profound remakings of home. Fuji and Yamazaki leave room for multiple realities of home, whether it is fogged by the passing of time, sharply remembered in home videos, or made into myth by the artist’s own hand. For them, ‘osato’ is the foundation upon which we all must constantly renegotiate what belonging means to us.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003c/i>\u003ca href=\"https://www.glassrice.com/current.html\">\u003ci>Osato/Quiet Conversations\u003c/i>\u003c/a>\u003ci>’ is on view through Dec. 6, 2025 at Glass Rice (808 Sutter St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"title": "Review of 'Osato/Quiet Conversations' at Glass Rice in SF | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a reception celebrated with sake and handmade onigiri, the San Francisco gallery Glass Rice opened \u003ca href=\"https://www.glassrice.com/current.html\">\u003ci>Osato/Quiet Conversations\u003c/i>\u003c/a>, a duo presentation of work by Maya Fuji and Shingo Yamazaki, in late October. The exhibition features delicate paintings by each artist, in addition to an immersive VR recreation of Fuji’s grandmother’s house in Kanazawa, Japan.\u003c/p>\n\u003cp>\u003ci>Osato/Quiet Conversations\u003c/i> represents a soft gaze inward and backwards in search of home, or “osato,” the Japanese term for a person’s hometown or upbringing. In the exhibition, Fuji and Yamazaki both explore the remaking of memories held within familial spaces. Mundane objects like house slippers, Pokémon cards and tissue boxes act as quiet elements that both evoke memory and give it texture.\u003c/p>\n\u003cp>Fuji, for instance, uses family oral history, photographs and home videos to create new moments within her grandmother’s house. Meanwhile, Yamazaki, who was born and raised in Honolulu, paints quiet indoor scenes entwined with distinctly Hawaiian motifs. As a second-generation Japanese and Korean American “without full access to his Zainichi (Koreans living in Japan) lineage,” as stated in the exhibition’s press release, he renegotiates feelings of longing and a fragmented sense of belonging through visually complicated glimpses into “home.”\u003c/p>\n\u003cp>Both artists quietly interweave artifacts of growing up as mixed-race Asians in America into their work, gesturing towards the intimacy of interior spaces. Through these cultural references, Fuji and Yamazaki call upon the ability of mundane objects to elicit a viewer’s memories, making those experiences integral to the meaning-making of the exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13983583\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23.jpg\" alt=\"Painting: A hand holds a marble taken from a Japanese soda bottle on the floor below.\" width=\"2000\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-23-1536x1229.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maya Fuji, ‘Finally Mine,’ 2025. \u003ccite>(Shaun Roberts, courtesy of Glass Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Fuji’s painting, \u003ci>Marble of My Eye\u003c/i>, soft hands cradle a precious glass ball from within a Ramune Japanese soda bottle, reminding me of my own childhood memories of trying to get that ball out of the bottle with my brother. In Yamazaki’s \u003ci>Front of House\u003c/i> — a double meaning, as the depicted space functions as both his family’s restaurant and home — Yamazaki renders a distinct still from \u003ci>Sailor Moon\u003c/i> on a TV set, juxtaposing that with a vanitas-style arrangement of hurriedly written notes cluttered around a cash register.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the opening, the exhibition sparked so many conversations about shared memories of watching shows like \u003ci>Sailor Moon\u003c/i> and \u003ci>Pokémon\u003c/i>. “A lot of the things they reference in their paintings from when we were growing up in the ’90s and early 2000s hits really close to home for me too,” says Glass Rice director Cecilia Chia. “I really love these layers and meanings of home as what kind of defines your character.”\u003c/p>\n\u003cp>A beaded red curtain in the back of the gallery marks the threshold to Fuji’s virtual world. In this VR environment, created in Fuji’s signature style (developed in partnership with VR developer Storm Griffith), viewers navigate the quiet Kanazawa countryside home of the artist’s grandmother depicted in so many of the paintings on view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Visitors can virtually move through the house and pick up the objects that fill the space — like plates of steamed buns or maneki neko Lucky Cat figurines — and overhear the familiar sounds of family chatter, a home video and the gentle hum of a Kanazawa street.\u003c/p>\n\u003cp>Going through the virtual house, I could almost imagine myself embodied as one of the soft, sensual, almost divine feminine figures that are signature to Fuji’s work, like the central figures in pieces like \u003ci>Listening・聞き耳\u003c/i>, her largest painting on view. By activating Fuji’s paintings in an immersive virtual space, memory becomes something that is alive, awake and even playful.\u003c/p>\n\u003cfigure id=\"attachment_13983585\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983585\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12.jpg\" alt=\"Painting: Inside a traditional Japanese room, two nude Asian women. One cleans the ears of the other with a pick while her companion reclines in her lap.\" width=\"2000\" height=\"1176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/GR251103-Install-12-1536x903.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maya Fuji, ‘Listening・聞き耳,’ 2025. \u003ccite>(Shaun Roberts, courtesy of Glass Rice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Home is what we make of it. In the end, \u003ci>Osato/Quiet Conversations\u003c/i> comes to no distinct answers about home, belonging or what it means to represent those things. Fuji and Yamazaki never represent feelings of cultural in-betweenness as “half” or otherwise un-whole. Instead, their paintings create generative representations of hybridity and overlap, whether that be through Yamazaki’s obscuring hazy washes and translucent lines or Fuji’s playful fusing of contemporary and Y2K aesthetics with traditional Japanese objects and folklore.\u003c/p>\n\u003cp>Both artists reflect the hazy and disjointed nature of memory and family storytelling while also envisioning profound remakings of home. Fuji and Yamazaki leave room for multiple realities of home, whether it is fogged by the passing of time, sharply remembered in home videos, or made into myth by the artist’s own hand. For them, ‘osato’ is the foundation upon which we all must constantly renegotiate what belonging means to us.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003c/i>\u003ca href=\"https://www.glassrice.com/current.html\">\u003ci>Osato/Quiet Conversations\u003c/i>\u003c/a>\u003ci>’ is on view through Dec. 6, 2025 at Glass Rice (808 Sutter St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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},
"perspectives": {
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"order": 14
},
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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