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These days, such star-driven films are falling out of fashion — except on our streamers.\u003c/p>\n\u003cp>That’s where you’ll find \u003cem>Wolfs\u003c/em>, an AppleTV+ vehicle that features \u003ca href=\"https://www.kqed.org/arts/13890684/george-clooney-says-midnight-sky-is-about-our-desperate-need-to-be-with-loved-ones\">George Clooney\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/brad-pitt\">Brad Pitt\u003c/a> skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do \u003cem>anything \u003c/em>to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular \u003ca href=\"https://www.kqed.org/pop/91487/origin-al-sin-what-hollywood-must-learn-from-spider-man-homecoming\">Spider-Man\u003c/a> reboot), \u003cem>Wolfs\u003c/em> matters more for its stars than for the characters they play.\u003c/p>\n\u003cp>[aside postid='arts_13966048']The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.\u003c/p>\n\u003cp>The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.\u003c/p>\n\u003cp>All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLJUPjiRbAM\u003c/p>\n\u003cp>If I’d paid to see \u003cem>Wolfs\u003c/em> in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or \u003ca href=\"https://www.kqed.org/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight\">Quentin Tarantino\u003c/a>, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s \u003cem>Mikey and Nicky\u003c/em>, say, or Martin McDonagh’s \u003cem>In Bruges\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13965877']And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.\u003c/p>\n\u003cp>Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like \u003cem>Out of Sight\u003c/em>, \u003cem>Up in the Air\u003c/em> and his work with the \u003ca href=\"https://www.kqed.org/arts/11762007/coen-brothers-inspired-dark-comedy-with-actors-from-veep-true-blood\">Coen Brothers\u003c/a>. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think \u003ca href=\"https://video.kqed.org/video/oceans-11-web-extra-kbfvd7/\">\u003cem>Ocean’s Eleven\u003c/em>\u003c/a> — they rarely resonate in the culture as much as he does off the screen.\u003c/p>\n\u003cp>For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a> and \u003cem>Se7en\u003c/em>, to \u003cem>Fight Club\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/56273/the_tree_of_life\">\u003cem>The Tree of Life\u003c/em>\u003c/a>, to \u003ca href=\"https://www.kqed.org/arts/128101/for_a_free_spirit_a_grim_12_years_in_chains\">\u003cem>12 Years a Slave\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/news/tag/moneyball\">\u003cem>Moneyball\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/pop/113016/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in … Hollywood\u003c/em>\u003c/a>, he’s made movies that feel in touch with our present moment.\u003c/p>\n\u003cp>[aside postid='arts_13965858']What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though \u003cem>Wolfs\u003c/em> is slight, I can see how they might find it meaningful.\u003c/p>\n\u003cp>After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, \u003cem>Wolfs\u003c/em> isn’t really a film about being a fixer. It’s a film about being an aging movie star.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wolfs’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Pitt and Clooney play competing Hollywood ‘fixers’ in this low-key Apple TV+ film.","status":"publish","parent":0,"modified":1728083067,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":831},"headData":{"title":"Movie Review: George Clooney and Brad Pitt Carry ‘Wolfs’ | KQED","description":"Pitt and Clooney play competing Hollywood ‘fixers’ in this low-key Apple TV+ film.","ogTitle":"Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’","ogDescription":"","ogImgId":"","twTitle":"Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’","twDescription":"","twImgId":"","socialTitle":"Movie Review: George Clooney and Brad Pitt Carry ‘Wolfs’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Brad Pitt and George Clooney Are Perfectly Cast as Two Old Pros in ‘Wolfs’","datePublished":"2024-10-04T16:04:27-07:00","dateModified":"2024-10-04T16:04:27-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"John Powers, NPR","nprStoryId":"nx-s1-5140162","nprHtmlLink":"https://www.npr.org/2024/10/04/nx-s1-5140162/wolfs-review-brad-pitt-george-clooney","nprRetrievedStory":"1","nprPubDate":"2024-10-04T13:05:10.979-04:00","nprStoryDate":"2024-10-04T13:05:10.979-04:00","nprLastModifiedDate":"2024-10-04T17:10:14.727-04:00","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/10/20241004_fa_3ff4cc76-0a1f-4244-bd65-d39166a27d61.mp3?d=385349&e=nx-s1-5140162","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13966146/wolfs-apple-tv-streaming-movie-review-brad-pitt-george-clooney","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2024/10/20241004_fa_3ff4cc76-0a1f-4244-bd65-d39166a27d61.mp3?d=385349&e=nx-s1-5140162","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most of its history, Hollywood made its money by putting stars the public liked to watch in stories that wouldn’t be worth watching without them. These days, such star-driven films are falling out of fashion — except on our streamers.\u003c/p>\n\u003cp>That’s where you’ll find \u003cem>Wolfs\u003c/em>, an AppleTV+ vehicle that features \u003ca href=\"https://www.kqed.org/arts/13890684/george-clooney-says-midnight-sky-is-about-our-desperate-need-to-be-with-loved-ones\">George Clooney\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/brad-pitt\">Brad Pitt\u003c/a> skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do \u003cem>anything \u003c/em>to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular \u003ca href=\"https://www.kqed.org/pop/91487/origin-al-sin-what-hollywood-must-learn-from-spider-man-homecoming\">Spider-Man\u003c/a> reboot), \u003cem>Wolfs\u003c/em> matters more for its stars than for the characters they play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13966048","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.\u003c/p>\n\u003cp>The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.\u003c/p>\n\u003cp>All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wLJUPjiRbAM'\n title='//www.youtube.com/embed/wLJUPjiRbAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If I’d paid to see \u003cem>Wolfs\u003c/em> in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or \u003ca href=\"https://www.kqed.org/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight\">Quentin Tarantino\u003c/a>, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s \u003cem>Mikey and Nicky\u003c/em>, say, or Martin McDonagh’s \u003cem>In Bruges\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965877","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.\u003c/p>\n\u003cp>Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like \u003cem>Out of Sight\u003c/em>, \u003cem>Up in the Air\u003c/em> and his work with the \u003ca href=\"https://www.kqed.org/arts/11762007/coen-brothers-inspired-dark-comedy-with-actors-from-veep-true-blood\">Coen Brothers\u003c/a>. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think \u003ca href=\"https://video.kqed.org/video/oceans-11-web-extra-kbfvd7/\">\u003cem>Ocean’s Eleven\u003c/em>\u003c/a> — they rarely resonate in the culture as much as he does off the screen.\u003c/p>\n\u003cp>For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a> and \u003cem>Se7en\u003c/em>, to \u003cem>Fight Club\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/56273/the_tree_of_life\">\u003cem>The Tree of Life\u003c/em>\u003c/a>, to \u003ca href=\"https://www.kqed.org/arts/128101/for_a_free_spirit_a_grim_12_years_in_chains\">\u003cem>12 Years a Slave\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/news/tag/moneyball\">\u003cem>Moneyball\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/pop/113016/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in … Hollywood\u003c/em>\u003c/a>, he’s made movies that feel in touch with our present moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965858","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though \u003cem>Wolfs\u003c/em> is slight, I can see how they might find it meaningful.\u003c/p>\n\u003cp>After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, \u003cem>Wolfs\u003c/em> isn’t really a film about being a fixer. It’s a film about being an aging movie star.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wolfs’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966146/wolfs-apple-tv-streaming-movie-review-brad-pitt-george-clooney","authors":["byline_arts_13966146"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75","arts_22313"],"tags":["arts_9222","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13966147","label":"arts_140"},"arts_13966064":{"type":"posts","id":"arts_13966064","meta":{"index":"posts_1716263798","site":"arts","id":"13966064","score":null,"sort":[1727995476000]},"guestAuthors":[],"slug":"ride-the-cyclone-musical-review-san-francisco","title":"In the TikTok-Revived Musical ‘Ride the Cyclone,’ Mortality Is a Game","publishDate":1727995476,"format":"standard","headTitle":"In the TikTok-Revived Musical ‘Ride the Cyclone,’ Mortality Is a Game | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>TikTok’s algorithm revives all manner of cultural errata: the Cocteau Twins, baggy jeans, \u003cem>Juno\u003c/em>. Some of it is inexplicable (“Running Up That Hill”? Really?), while other Gen Z revivals make complete sense, like the 2008 musical \u003cem>Ride the Cyclone\u003c/em>. \u003c/p>\n\u003cp>In the show, a group of high school choir students thrown from a derailed roller coaster at a local carnival are sent into purgatory, where they must vote unanimously for only one among them to go back to Earth and experience life anew. \u003c/p>\n\u003cp>Death, competition, popularity, sex — these are constant obsessions of the American teenager. So it’s no surprise that \u003cem>Ride the Cyclone\u003c/em>’s run at the New Conservatory Theatre Center in San Francisco has been extended due to high demand. What may be a surprise is that, in the hands of director Stephanie Temple, the production is thoroughly enjoyable, no matter if you’re 13 or 59. \u003c/p>\n\u003cfigure id=\"attachment_13966074\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13966074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Sage Alberto, center, in ‘Ride the Cyclone’ at the New Conservatory Theatre Center in San Francisco. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anne Norland adroitly drives the action as Ocean, a peppy overachiever who immediately argues for herself to be the one that gets to return to life. As her deferential friend Constance, Sage Alberto displays expert dry wit and comic timing that turns to introspection when she assesses her place in the social hierarchy. Kaylyn Dowd nails the role of The Amazing Karnak, the Zoltar-esque fortune telling machine that orchestrates the students’ game of mortality.\u003c/p>\n\u003cp>Meanwhile, Noel (an effervescent Jon Gary Harris) is overdramatic, very gay, and yearning for a grittier life — or, at least, one more meaningful than working at the Taco Bell in the mall. Mischa (Matt Skinner) puts on a gangsta veneer to cloak his passion, and Milo Boland’s Ricky, mute on Earth but reacquainted with his voice in purgatory, gets to speak his innermost desires (spoiler alert: it involves cats). \u003c/p>\n\u003cfigure id=\"attachment_13966081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp.jpg\" alt=\"Black actor with feather boa, white woman in pink wig smiles big\" width=\"2000\" height=\"1483\" class=\"size-full wp-image-13966081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-1536x1139.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-1920x1424.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Jon Gary Harris in ‘Ride the Cyclone’; R: Kaylyn Down as The Amazing Karnak. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the story hangs a little raggedly at times, it at least avoids the cliché of putting each student into a different high school clique, focusing instead on their family background, personality and outlook on life. And while each character’s featured song doesn’t always work as an argument to be brought back to life (most, in fact, are simply teen fantasies writ large), the larger purpose, I think, is to show the hopes, dreams and fragility of young lives. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s as evident in Ocean’s razzle-dazzle opener, “What the World Needs,” as it is in Mischa’s novelty rap number “This Song Is Awesome” or Constance’s “Jawbreaker.” Although Noel’s sultry “Noel’s Lament” is a crowd-pleasing showstopper, the most jaw-dropping song here is from Grace Margaret Craig as a girl whose remains were so mangled that she could not be identified — a Jane Doe — and whose incredible range propels “The Ballad of Jane Doe.” \u003c/p>\n\u003cfigure id=\"attachment_13966072\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13966072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Grace Margaret Craig in ‘Ride the Cyclone’ at the New Conservatory Theatre Center in San Francisco. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With moving character development, moments of hilarity and an unexpectedly emotional ending, \u003cem>Ride the Cyclone\u003c/em> is a rousing 90 minutes — and a reminder to make the most of the other minutes you’ve got. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ride the Cyclone’ runs through Oct. 27 at the New Conservatory Theatre Center in San Francisco. \u003ca href=\"https://nctcsf.org/event/ride-the-cyclone/\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In San Francisco, the popular show about dead teenagers who strive to live again is both fun and poignant.","status":"publish","parent":0,"modified":1727997389,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":612},"headData":{"title":"‘Ride the Cyclone’ Musical Review: Mortality Is a Game | KQED","description":"In San Francisco, the popular show about dead teenagers who strive to live again is both fun and poignant.","ogTitle":"In the TikTok-Revived Musical ‘Ride the Cyclone,’ Mortality Is a Game","ogDescription":"","ogImgId":"","twTitle":"In the TikTok-Revived Musical ‘Ride the Cyclone,’ Mortality Is a Game","twDescription":"","twImgId":"","socialTitle":"‘Ride the Cyclone’ Musical Review: Mortality Is a Game %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In the TikTok-Revived Musical ‘Ride the Cyclone,’ Mortality Is a Game","datePublished":"2024-10-03T15:44:36-07:00","dateModified":"2024-10-03T16:16:29-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13966064","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13966064/ride-the-cyclone-musical-review-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>TikTok’s algorithm revives all manner of cultural errata: the Cocteau Twins, baggy jeans, \u003cem>Juno\u003c/em>. Some of it is inexplicable (“Running Up That Hill”? Really?), while other Gen Z revivals make complete sense, like the 2008 musical \u003cem>Ride the Cyclone\u003c/em>. \u003c/p>\n\u003cp>In the show, a group of high school choir students thrown from a derailed roller coaster at a local carnival are sent into purgatory, where they must vote unanimously for only one among them to go back to Earth and experience life anew. \u003c/p>\n\u003cp>Death, competition, popularity, sex — these are constant obsessions of the American teenager. So it’s no surprise that \u003cem>Ride the Cyclone\u003c/em>’s run at the New Conservatory Theatre Center in San Francisco has been extended due to high demand. What may be a surprise is that, in the hands of director Stephanie Temple, the production is thoroughly enjoyable, no matter if you’re 13 or 59. \u003c/p>\n\u003cfigure id=\"attachment_13966074\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13966074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Sage Alberto, center, in ‘Ride the Cyclone’ at the New Conservatory Theatre Center in San Francisco. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anne Norland adroitly drives the action as Ocean, a peppy overachiever who immediately argues for herself to be the one that gets to return to life. As her deferential friend Constance, Sage Alberto displays expert dry wit and comic timing that turns to introspection when she assesses her place in the social hierarchy. Kaylyn Dowd nails the role of The Amazing Karnak, the Zoltar-esque fortune telling machine that orchestrates the students’ game of mortality.\u003c/p>\n\u003cp>Meanwhile, Noel (an effervescent Jon Gary Harris) is overdramatic, very gay, and yearning for a grittier life — or, at least, one more meaningful than working at the Taco Bell in the mall. Mischa (Matt Skinner) puts on a gangsta veneer to cloak his passion, and Milo Boland’s Ricky, mute on Earth but reacquainted with his voice in purgatory, gets to speak his innermost desires (spoiler alert: it involves cats). \u003c/p>\n\u003cfigure id=\"attachment_13966081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp.jpg\" alt=\"Black actor with feather boa, white woman in pink wig smiles big\" width=\"2000\" height=\"1483\" class=\"size-full wp-image-13966081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-1536x1139.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-1920x1424.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Jon Gary Harris in ‘Ride the Cyclone’; R: Kaylyn Down as The Amazing Karnak. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the story hangs a little raggedly at times, it at least avoids the cliché of putting each student into a different high school clique, focusing instead on their family background, personality and outlook on life. And while each character’s featured song doesn’t always work as an argument to be brought back to life (most, in fact, are simply teen fantasies writ large), the larger purpose, I think, is to show the hopes, dreams and fragility of young lives. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s as evident in Ocean’s razzle-dazzle opener, “What the World Needs,” as it is in Mischa’s novelty rap number “This Song Is Awesome” or Constance’s “Jawbreaker.” Although Noel’s sultry “Noel’s Lament” is a crowd-pleasing showstopper, the most jaw-dropping song here is from Grace Margaret Craig as a girl whose remains were so mangled that she could not be identified — a Jane Doe — and whose incredible range propels “The Ballad of Jane Doe.” \u003c/p>\n\u003cfigure id=\"attachment_13966072\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13966072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Grace Margaret Craig in ‘Ride the Cyclone’ at the New Conservatory Theatre Center in San Francisco. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With moving character development, moments of hilarity and an unexpectedly emotional ending, \u003cem>Ride the Cyclone\u003c/em> is a rousing 90 minutes — and a reminder to make the most of the other minutes you’ve got. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ride the Cyclone’ runs through Oct. 27 at the New Conservatory Theatre Center in San Francisco. \u003ca href=\"https://nctcsf.org/event/ride-the-cyclone/\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966064/ride-the-cyclone-musical-review-san-francisco","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_22313","arts_967"],"tags":["arts_10278","arts_769","arts_1146","arts_585"],"featImg":"arts_13966075","label":"arts_140"},"arts_13966062":{"type":"posts","id":"arts_13966062","meta":{"index":"posts_1716263798","site":"arts","id":"13966062","score":null,"sort":[1727991122000]},"guestAuthors":[],"slug":"white-bird-review-helen-mirren-world-war-ii-movie-palacio-ya","title":"Helen Mirren Tells a Story of Evil and Hope During WWII in ‘White Bird’","publishDate":1727991122,"format":"standard","headTitle":"Helen Mirren Tells a Story of Evil and Hope During WWII in ‘White Bird’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s never a bad time for stories celebrating acts of kindness, but the current news cycle makes it ever so more appreciated. In the new film \u003cem>White Bird\u003c/em>, in theaters Friday, the act is quite significant: A family in Nazi-occupied France shelters a young Jewish girl, whose friends and family have all been taken away.\u003c/p>\n\u003cp>From German director Marc Forster (\u003cem>Finding Neverland\u003c/em>, \u003cem>The Kite Runner\u003c/em>) \u003cem>White Bird\u003c/em> is a handsome adaptation of R.J. Palacio’s graphic novel aimed at young adults. This, too, is perfectly suited to that audience — a story within a story with all the drama of war and young romance wrapped up in it. Let’s just not overplay the idea that it’s part of some shared cinematic kindness universe with the Julia Roberts and Owen Wilson film \u003cem>Wonder\u003c/em>, also based on Palacio’s work.\u003c/p>\n\u003cp>[aside postid='arts_13965970']It’s framed as something a grandmother is telling her grandson, who seems to be going down the wrong path. Helen Mirren is said Grandmère, or Sara Blum, a famous artist who opens up to young Julian (Bryce Gheisar) one evening over dinner about what she went through during the war. For being a neglected rich kid who is prone to getting kicked out of fancy private schools, Julian’s immediate, earnest interest in what his Grandmère has to say is perhaps the most unbelievable part of this story, which includes some deus ex machina wolves. It’s a way in, I suppose, and Mirren makes for a lovely narrator.\u003c/p>\n\u003cp>Ariella Glaser plays young Sara Blum, who leads a nice life in her small French town with educated, professional parents Max (Ishai Golan) and Rose (Olivia Ross). She barely notices the changing tides as the war ramps up, more concerned with her friends and the cute boy in school. The story takes care to note that she barely noticed the classmate that would end up saving her life: Julien (Orlando Schwerdt), who walks with a crutch and whose father works in the sewers. Not, in other words, a popular kid. In an awkward moment, the audience, and Julien, realize that she doesn’t even know his name.\u003c/p>\n\u003cp>But when the Nazis come to round up the Jewish students in the school, he’s there to help get her to his family’s property. Gillian Anderson plays Julien’s mother, Vivienne, a grounding presence but very much a side character until a devastating sequence late in the film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aTTPea6gHh4\u003c/p>\n\u003cp>The young actors are very good and well-cast in their journey to friendship and then first love. They get to know one another and spend time dreaming up a world in which they’re not confined to a barn, their imaginations brought to life through dreamy projected images.\u003c/p>\n\u003cp>[aside postid='arts_13965966']\u003cem>White Bird\u003c/em>, which was shot in early 2021, was delayed several times over the past two years. Often, that signals some sort of quality issue and an obligation to begrudgingly release in spite of it. But that’s not the case here: This is a very finely made movie that seemed to have just gotten caught in a sort of release limbo that’s only partially related to the strikes.\u003c/p>\n\u003cp>It’s a little by-the-book — exactly, perhaps, what you might expect from elevated historical fiction aimed at young adults. Being a good-hearted, straightforward film that might even have you shedding a few tears is no crime against cinema.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Bird’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A young Jewish girl is concealed by a sympathetic family in this adaptation of R.J. Palacio’s graphic novel.","status":"publish","parent":0,"modified":1727991122,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":617},"headData":{"title":"Movie Review: ‘White Bird’ Is a WW2 Tale of Evil and Hope | KQED","description":"A young Jewish girl is concealed by a sympathetic family in this adaptation of R.J. Palacio’s graphic novel.","ogTitle":"Helen Mirren Tells a Story of Evil and Hope During WWII in ‘White Bird’","ogDescription":"","ogImgId":"","twTitle":"Helen Mirren Tells a Story of Evil and Hope During WWII in ‘White Bird’","twDescription":"","twImgId":"","socialTitle":"Movie Review: ‘White Bird’ Is a WW2 Tale of Evil and Hope %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Helen Mirren Tells a Story of Evil and Hope During WWII in ‘White Bird’","datePublished":"2024-10-03T14:32:02-07:00","dateModified":"2024-10-03T14:32:02-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Lindsey Bahr, Associated Press","nprStoryId":"kqed-13966062","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13966062/white-bird-review-helen-mirren-world-war-ii-movie-palacio-ya","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s never a bad time for stories celebrating acts of kindness, but the current news cycle makes it ever so more appreciated. In the new film \u003cem>White Bird\u003c/em>, in theaters Friday, the act is quite significant: A family in Nazi-occupied France shelters a young Jewish girl, whose friends and family have all been taken away.\u003c/p>\n\u003cp>From German director Marc Forster (\u003cem>Finding Neverland\u003c/em>, \u003cem>The Kite Runner\u003c/em>) \u003cem>White Bird\u003c/em> is a handsome adaptation of R.J. Palacio’s graphic novel aimed at young adults. This, too, is perfectly suited to that audience — a story within a story with all the drama of war and young romance wrapped up in it. Let’s just not overplay the idea that it’s part of some shared cinematic kindness universe with the Julia Roberts and Owen Wilson film \u003cem>Wonder\u003c/em>, also based on Palacio’s work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965970","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s framed as something a grandmother is telling her grandson, who seems to be going down the wrong path. Helen Mirren is said Grandmère, or Sara Blum, a famous artist who opens up to young Julian (Bryce Gheisar) one evening over dinner about what she went through during the war. For being a neglected rich kid who is prone to getting kicked out of fancy private schools, Julian’s immediate, earnest interest in what his Grandmère has to say is perhaps the most unbelievable part of this story, which includes some deus ex machina wolves. It’s a way in, I suppose, and Mirren makes for a lovely narrator.\u003c/p>\n\u003cp>Ariella Glaser plays young Sara Blum, who leads a nice life in her small French town with educated, professional parents Max (Ishai Golan) and Rose (Olivia Ross). She barely notices the changing tides as the war ramps up, more concerned with her friends and the cute boy in school. The story takes care to note that she barely noticed the classmate that would end up saving her life: Julien (Orlando Schwerdt), who walks with a crutch and whose father works in the sewers. Not, in other words, a popular kid. In an awkward moment, the audience, and Julien, realize that she doesn’t even know his name.\u003c/p>\n\u003cp>But when the Nazis come to round up the Jewish students in the school, he’s there to help get her to his family’s property. Gillian Anderson plays Julien’s mother, Vivienne, a grounding presence but very much a side character until a devastating sequence late in the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aTTPea6gHh4'\n title='//www.youtube.com/embed/aTTPea6gHh4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The young actors are very good and well-cast in their journey to friendship and then first love. They get to know one another and spend time dreaming up a world in which they’re not confined to a barn, their imaginations brought to life through dreamy projected images.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965966","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>White Bird\u003c/em>, which was shot in early 2021, was delayed several times over the past two years. Often, that signals some sort of quality issue and an obligation to begrudgingly release in spite of it. But that’s not the case here: This is a very finely made movie that seemed to have just gotten caught in a sort of release limbo that’s only partially related to the strikes.\u003c/p>\n\u003cp>It’s a little by-the-book — exactly, perhaps, what you might expect from elevated historical fiction aimed at young adults. Being a good-hearted, straightforward film that might even have you shedding a few tears is no crime against cinema.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Bird’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966062/white-bird-review-helen-mirren-world-war-ii-movie-palacio-ya","authors":["byline_arts_13966062"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_8905","arts_769","arts_585"],"featImg":"arts_13966067","label":"arts_140"},"arts_13966048":{"type":"posts","id":"arts_13966048","meta":{"index":"posts_1716263798","site":"arts","id":"13966048","score":null,"sort":[1727983394000]},"guestAuthors":[],"slug":"joker-folie-a-deux-movie-review-joaquin-phoenix-lady-gaga","title":"‘Folie à Deux’ Reckons Curiously With ‘The Joker’","publishDate":1727983394,"format":"standard","headTitle":"‘Folie à Deux’ Reckons Curiously With ‘The Joker’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Let’s put on a happy face, at least to start, for \u003cem>Joker: Folie à Deux\u003c/em>.\u003c/p>\n\u003cp>If there’s one undeniably compelling thing about both \u003ca href=\"https://www.kqed.org/arts/13867607/joker-is-wild-ly-dull\">Todd Phillips’ divisive 2019 original\u003c/a> and his new follow-up, it’s that these movies are best when they dance. The first movie might have been a muddled attempt to retrofit a \u003cem>Taxi Driver\u003c/em>-styled ’70s realism into a Joker origin story, but, man, when Joaquin Phoenix is on his toes, it’s hard to look away.\u003c/p>\n\u003cp>Just the image of a gaunt Phoenix decked out in the red suit, with his green-streaked hair slicked back, was enough to give \u003cem>Joker\u003c/em> a kick. The role gave Phoenix, a full-bodied actor, a day-glo canvas on which to unleash torrents of movement, cycling between wounded restraint and flamboyant release, in a comic-book genre that usually leaves performers paralyzed by spandex.\u003c/p>\n\u003cp>[aside postid='arts_13965555']He’s nearly as captivating in \u003cem>Joker: Folie à Deux\u003c/em>, a musical that closely follows the events of the first film as an imprisoned Arthur Fleck (Phoenix) goes on trial for the murders that occurred at the culmination of \u003cem>Joker\u003c/em>. Even the way Phoenix theatrically smokes as Arthur — which he does quite a lot in \u003cem>Folie à Deux\u003c/em> — shows you how much he’s luxuriating in the limber physicality of the character.\u003c/p>\n\u003cp>But any sense of forward momentum has gone out the window in \u003cem>Joker: Folie à Deux\u003c/em>, which opens in theaters Thursday. Phillips has followed his very anti-hero take on the Joker with an a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was. If \u003cem>Joker\u003c/em> — which some claimed sympathized the kind of lone gunmen that populate our real world — stirred debate, \u003cem>Folie à Deux\u003c/em> is a self-conscious rejoinder to all that discussion, spending much of its time interrogating Arthur’s actions from the last movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That makes it a theoretically interesting film but a curiously dull one, particularly given that it stars two such incredibly watchable performers in Phoenix and Lady Gaga, who plays a fellow inmate, Lee Quinzel, infatuated with the Joker. Phillips deserves credit for subverting expectations. Most directors would turn Arthur loose for a sequel chock-full of violence and mayhem, not Burt Bacharach song-and-dance sequences. But laudable as the intentions of \u003cem>Folie à Deux\u003c/em> may be, it feels thoughtfully but tiresomely stuck in the past.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_OKAwz2MsJs&t=101s\u003c/p>\n\u003cp>“You gotta joke for us today?” asks an Arkham State Hospital guard (Brendan Gleeson, back inside a jail post-\u003cem>Paddington 2\u003c/em>) as they pull Arthur from his cell. He is seemingly even thinner now, his shoulder blades sticking out. A wan look shows he’s jokeless, too, having clearly reverted back to the depression that Arthur earlier stewed in.\u003c/p>\n\u003cp>[aside postid='arts_13965970']That interaction, and others that follow, carries on some of the themes of \u003cem>Joker\u003c/em>, which imagined Arthur and the mania that springs from him as the warped product of a cruel urban world and failed social safety net. Arthur is now heading for either the death penalty or life in prison, it’s just a matter of whether his attorney (Catherine Keener) can convince a jury that he suffers from split personality syndrome.\u003c/p>\n\u003cp>We are again asked to consider and weigh how Arthur is treated by those around him, including the guards who at turns mock him, ask him for his autograph or show him a little compassion. Gotham City district attorney, Harvey Dent (Harry Lawtey), believes he should die for killing five, including the late-night talk-show host Murray Franklin live on air. Does Arthur deserve our sympathy? \u003cem>Folie à Deux\u003c/em> is a little like the \u003cem>Seinfeld\u003c/em> finale: a moral, courtroom rehashing.\u003c/p>\n\u003cp>The throngs outside the courthouse clamor not for Arthur but the Joker, who they regard as an anarchist martyr. They crave entertainment, and Arthur, or the Joker, is tempted to give it to them. One psychology expert claims Arthur’s mental illness is “just a show.” In many ways — including a mock Looney Tunes cartoon that opens the movie — \u003cem>Folie à Deux\u003c/em> continues the first movie’s interest in considering, and satirizing, what it is we crave in entertainment. Do we want the “real” story of Arthur or the fantasy of the Joker?\u003c/p>\n\u003cp>I’m not sure \u003cem>Folie à Deux\u003c/em> always successfully pegs audience desire, though. What I most wanted in \u003cem>Folie à Deux\u003c/em> was for it to stop playing with the concepts of its characters and instead let them breathe a little more on their own. It’s not surprising that the movie works best when Arthur and Lee lock into one other. This is Arthur’s first blush with the love he’s lacked (“She gets me,” he says), but their connection may also have more to do with fantasy. Their time together is actually somewhat limited but, in Arthur’s imagination, their emotions soar in songs, mostly old standards (“Get Happy,” “For Once in My Life,” “That’s Life”), they sing tenderly to one another.\u003c/p>\n\u003cp>[aside postid='arts_13965877']These musical interludes break free of an otherwise fairly bleak and belabored narrative, as a legal and penal system that doesn’t know how to handle Arthur’s pain — or that he’s a reflection of their failure — help twist him back into the Joker. Once the Joker does fully emerge, Phoenix’s Fleck is visibly aghast at what he’s wrought.\u003c/p>\n\u003cp>All of this wrestling with \u003cem>The Joker\u003c/em> makes \u003cem>Folie à Deux\u003c/em> impressively un-superhero-movie-like, and a deliberate denial of audience expectation. But it’s also spinning its wheels. It’s not surprising that \u003cem>Folie à Deux\u003c/em> originated in concept as a stage show. It’s stuck in place, with only Phoenix’s dazzling contortions to marvel at.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joker: Folie à Deux’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"This sequel works best when Joaquin Phoenix and Lady Gaga share the screen — but the movie is surprisingly inert.","status":"publish","parent":0,"modified":1727983394,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1043},"headData":{"title":"Movie Review: ‘Folie à Deux’ Puts ‘The Joker’ on Trial | KQED","description":"This sequel works best when Joaquin Phoenix and Lady Gaga share the screen — but the movie is surprisingly inert.","ogTitle":"‘Folie à Deux’ Reckons Curiously With ‘The Joker’","ogDescription":"","ogImgId":"","twTitle":"‘Folie à Deux’ Reckons Curiously With ‘The Joker’","twDescription":"","twImgId":"","socialTitle":"Movie Review: ‘Folie à Deux’ Puts ‘The Joker’ on Trial %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Folie à Deux’ Reckons Curiously With ‘The Joker’","datePublished":"2024-10-03T12:23:14-07:00","dateModified":"2024-10-03T12:23:14-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jake Coyle, Associated Press","nprStoryId":"kqed-13966048","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13966048/joker-folie-a-deux-movie-review-joaquin-phoenix-lady-gaga","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s put on a happy face, at least to start, for \u003cem>Joker: Folie à Deux\u003c/em>.\u003c/p>\n\u003cp>If there’s one undeniably compelling thing about both \u003ca href=\"https://www.kqed.org/arts/13867607/joker-is-wild-ly-dull\">Todd Phillips’ divisive 2019 original\u003c/a> and his new follow-up, it’s that these movies are best when they dance. The first movie might have been a muddled attempt to retrofit a \u003cem>Taxi Driver\u003c/em>-styled ’70s realism into a Joker origin story, but, man, when Joaquin Phoenix is on his toes, it’s hard to look away.\u003c/p>\n\u003cp>Just the image of a gaunt Phoenix decked out in the red suit, with his green-streaked hair slicked back, was enough to give \u003cem>Joker\u003c/em> a kick. The role gave Phoenix, a full-bodied actor, a day-glo canvas on which to unleash torrents of movement, cycling between wounded restraint and flamboyant release, in a comic-book genre that usually leaves performers paralyzed by spandex.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965555","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>He’s nearly as captivating in \u003cem>Joker: Folie à Deux\u003c/em>, a musical that closely follows the events of the first film as an imprisoned Arthur Fleck (Phoenix) goes on trial for the murders that occurred at the culmination of \u003cem>Joker\u003c/em>. Even the way Phoenix theatrically smokes as Arthur — which he does quite a lot in \u003cem>Folie à Deux\u003c/em> — shows you how much he’s luxuriating in the limber physicality of the character.\u003c/p>\n\u003cp>But any sense of forward momentum has gone out the window in \u003cem>Joker: Folie à Deux\u003c/em>, which opens in theaters Thursday. Phillips has followed his very anti-hero take on the Joker with an a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was. If \u003cem>Joker\u003c/em> — which some claimed sympathized the kind of lone gunmen that populate our real world — stirred debate, \u003cem>Folie à Deux\u003c/em> is a self-conscious rejoinder to all that discussion, spending much of its time interrogating Arthur’s actions from the last movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That makes it a theoretically interesting film but a curiously dull one, particularly given that it stars two such incredibly watchable performers in Phoenix and Lady Gaga, who plays a fellow inmate, Lee Quinzel, infatuated with the Joker. Phillips deserves credit for subverting expectations. Most directors would turn Arthur loose for a sequel chock-full of violence and mayhem, not Burt Bacharach song-and-dance sequences. But laudable as the intentions of \u003cem>Folie à Deux\u003c/em> may be, it feels thoughtfully but tiresomely stuck in the past.\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/_OKAwz2MsJs'\n title='//www.youtube.com/embed/_OKAwz2MsJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You gotta joke for us today?” asks an Arkham State Hospital guard (Brendan Gleeson, back inside a jail post-\u003cem>Paddington 2\u003c/em>) as they pull Arthur from his cell. He is seemingly even thinner now, his shoulder blades sticking out. A wan look shows he’s jokeless, too, having clearly reverted back to the depression that Arthur earlier stewed in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965970","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>That interaction, and others that follow, carries on some of the themes of \u003cem>Joker\u003c/em>, which imagined Arthur and the mania that springs from him as the warped product of a cruel urban world and failed social safety net. Arthur is now heading for either the death penalty or life in prison, it’s just a matter of whether his attorney (Catherine Keener) can convince a jury that he suffers from split personality syndrome.\u003c/p>\n\u003cp>We are again asked to consider and weigh how Arthur is treated by those around him, including the guards who at turns mock him, ask him for his autograph or show him a little compassion. Gotham City district attorney, Harvey Dent (Harry Lawtey), believes he should die for killing five, including the late-night talk-show host Murray Franklin live on air. Does Arthur deserve our sympathy? \u003cem>Folie à Deux\u003c/em> is a little like the \u003cem>Seinfeld\u003c/em> finale: a moral, courtroom rehashing.\u003c/p>\n\u003cp>The throngs outside the courthouse clamor not for Arthur but the Joker, who they regard as an anarchist martyr. They crave entertainment, and Arthur, or the Joker, is tempted to give it to them. One psychology expert claims Arthur’s mental illness is “just a show.” In many ways — including a mock Looney Tunes cartoon that opens the movie — \u003cem>Folie à Deux\u003c/em> continues the first movie’s interest in considering, and satirizing, what it is we crave in entertainment. Do we want the “real” story of Arthur or the fantasy of the Joker?\u003c/p>\n\u003cp>I’m not sure \u003cem>Folie à Deux\u003c/em> always successfully pegs audience desire, though. What I most wanted in \u003cem>Folie à Deux\u003c/em> was for it to stop playing with the concepts of its characters and instead let them breathe a little more on their own. It’s not surprising that the movie works best when Arthur and Lee lock into one other. This is Arthur’s first blush with the love he’s lacked (“She gets me,” he says), but their connection may also have more to do with fantasy. Their time together is actually somewhat limited but, in Arthur’s imagination, their emotions soar in songs, mostly old standards (“Get Happy,” “For Once in My Life,” “That’s Life”), they sing tenderly to one another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965877","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>These musical interludes break free of an otherwise fairly bleak and belabored narrative, as a legal and penal system that doesn’t know how to handle Arthur’s pain — or that he’s a reflection of their failure — help twist him back into the Joker. Once the Joker does fully emerge, Phoenix’s Fleck is visibly aghast at what he’s wrought.\u003c/p>\n\u003cp>All of this wrestling with \u003cem>The Joker\u003c/em> makes \u003cem>Folie à Deux\u003c/em> impressively un-superhero-movie-like, and a deliberate denial of audience expectation. But it’s also spinning its wheels. It’s not surprising that \u003cem>Folie à Deux\u003c/em> originated in concept as a stage show. It’s stuck in place, with only Phoenix’s dazzling contortions to marvel at.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joker: Folie à Deux’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13966048/joker-folie-a-deux-movie-review-joaquin-phoenix-lady-gaga","authors":["byline_arts_13966048"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_7584","arts_769","arts_585"],"featImg":"arts_13966057","label":"arts_140"},"arts_13965980":{"type":"posts","id":"arts_13965980","meta":{"index":"posts_1716263798","site":"arts","id":"13965980","score":null,"sort":[1727897911000]},"guestAuthors":[],"slug":"the-message-book-review-ta-nehisi-coates-senegal-south-carolina-middle-east","title":"Ta-Nehisi Coates Visits Senegal, South Carolina and the Middle East for ‘The Message’","publishDate":1727897911,"format":"aside","headTitle":"Ta-Nehisi Coates Visits Senegal, South Carolina and the Middle East for ‘The Message’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13965984\" class=\"wp-caption aligncenter\" style=\"max-width: 1377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965984\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message.png\" alt=\"A book cover featuring patches of writing and torn away flyers on a wall.\" width=\"1377\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message.png 1377w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-1020x1481.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-1058x1536.png 1058w\" sizes=\"(max-width: 1377px) 100vw, 1377px\">\u003cfigcaption class=\"wp-caption-text\">‘The Message’ by Ta-Nehisi Coates. \u003ccite>(One World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ta-Nehisi Coates always writes with a purpose, so naming his latest collection \u003cem>The Message\u003c/em> is nothing if not on-brand. But what’s the actual message? Consisting of three pieces of non-fiction, the book is part memoir, part travelogue, and part writing primer. It covers his recent trips to Dakar, Senegal; Columbia, South Carolina; and various cities and towns in the Middle East.\u003c/p>\n\u003cp>He writes in the introduction that the essays fulfill a promise to a Howard University writing class he taught in 2022: “I bring my belated assignment … I’ve addressed these notes directly to you, though I confess that I am thinking of young writers everywhere whose task is nothing less than doing their part to save the world.”\u003c/p>\n\u003cp>[aside postid='arts_13965937']Coates features snippets of his biography in each essay, but always returns to lessons for writers, as in this reflection during his first ever visit to Africa: “There are dimensions in your words — rhythm, content, shape, feeling … The accretion of imperfect, discomfiting life must be seen and felt so that the space in your mind, gray, automatic, and square, fills with angle, color, and curve.” These pilgrimages, for him, help ground his powerful writing about race. As he reflects on his visit to Gorée Island, the place from which tens of millions of Africans departed into a lifetime of slavery, he confesses to “welling up, grieving for something, in the grips of some feeling I am still, even as I write this, struggling to name.”\u003c/p>\n\u003cp>The second essay examines racism closer to home, as Coates journeys to a South Carolina town where the school board was considering banning his 2015 book \u003cem>Between the World and Me\u003c/em> because, in part, students in an Advanced Placement English class felt “ashamed to be Caucasian” when they read it. Supporters of the teacher manage to show up in enough force to defeat the ban, but Coates sees in it the power of story. A middle-aged white teacher in Chapin, South Carolina, read his book — a letter to his teenage-son about the realities of being Black in the United States — and decided to use it as an example of how to write a persuasive essay. “We have lived under a class of people who ruled American culture with a flaming cross for so long that we regularly cease to notice the import of being ruled at all,” writes Coates.\u003c/p>\n\u003cp>The final, and longest, essay encompasses a 10-day trip Coates takes to the Middle East. Like his journey to Senegal, it’s his first time in the region, and the experience really opens his eyes. “Of all the worlds I have ever explored, I don’t think any shone so bright, so intense, so immediately as Palestine.” That’s because everywhere he looks he sees familiar signs of subjugation. The parallels between being Black in America and Palestinian in the Middle East are myriad. “The state had one message to the Palestinians within its borders … ‘You’d really be better off somewhere else,’” writes Coates. But while it’s a message Coates clearly conveys in his essay, he realizes it’s not his story to tell. “If Palestinians are to be truly seen it will be through stories woven by their own hands — not by their plunderers, not even by their comrades.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Message’ by Ta-Nehisi Coates is out now, via One World.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"‘The Message’ contains three pieces of non-fiction. It is part memoir, part travelogue and part writing primer.","status":"publish","parent":0,"modified":1727897911,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":616},"headData":{"title":"Book Review: ‘The Message‘ by Ta-Nehisi Coates | KQED","description":"‘The Message’ contains three pieces of non-fiction. It is part memoir, part travelogue and part writing primer.","ogTitle":"Ta-Nehisi Coates Visits Senegal, South Carolina and the Middle East for ‘The Message’","ogDescription":"","ogImgId":"","twTitle":"Ta-Nehisi Coates Visits Senegal, South Carolina and the Middle East for ‘The Message’","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘The Message‘ by Ta-Nehisi Coates %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ta-Nehisi Coates Visits Senegal, South Carolina and the Middle East for ‘The Message’","datePublished":"2024-10-02T12:38:31-07:00","dateModified":"2024-10-02T12:38:31-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Rob Merrill, Associated Press","nprStoryId":"kqed-13965980","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13965980/the-message-book-review-ta-nehisi-coates-senegal-south-carolina-middle-east","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13965984\" class=\"wp-caption aligncenter\" style=\"max-width: 1377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965984\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message.png\" alt=\"A book cover featuring patches of writing and torn away flyers on a wall.\" width=\"1377\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message.png 1377w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-1020x1481.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/message-1058x1536.png 1058w\" sizes=\"(max-width: 1377px) 100vw, 1377px\">\u003cfigcaption class=\"wp-caption-text\">‘The Message’ by Ta-Nehisi Coates. \u003ccite>(One World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ta-Nehisi Coates always writes with a purpose, so naming his latest collection \u003cem>The Message\u003c/em> is nothing if not on-brand. But what’s the actual message? Consisting of three pieces of non-fiction, the book is part memoir, part travelogue, and part writing primer. It covers his recent trips to Dakar, Senegal; Columbia, South Carolina; and various cities and towns in the Middle East.\u003c/p>\n\u003cp>He writes in the introduction that the essays fulfill a promise to a Howard University writing class he taught in 2022: “I bring my belated assignment … I’ve addressed these notes directly to you, though I confess that I am thinking of young writers everywhere whose task is nothing less than doing their part to save the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965937","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Coates features snippets of his biography in each essay, but always returns to lessons for writers, as in this reflection during his first ever visit to Africa: “There are dimensions in your words — rhythm, content, shape, feeling … The accretion of imperfect, discomfiting life must be seen and felt so that the space in your mind, gray, automatic, and square, fills with angle, color, and curve.” These pilgrimages, for him, help ground his powerful writing about race. As he reflects on his visit to Gorée Island, the place from which tens of millions of Africans departed into a lifetime of slavery, he confesses to “welling up, grieving for something, in the grips of some feeling I am still, even as I write this, struggling to name.”\u003c/p>\n\u003cp>The second essay examines racism closer to home, as Coates journeys to a South Carolina town where the school board was considering banning his 2015 book \u003cem>Between the World and Me\u003c/em> because, in part, students in an Advanced Placement English class felt “ashamed to be Caucasian” when they read it. Supporters of the teacher manage to show up in enough force to defeat the ban, but Coates sees in it the power of story. A middle-aged white teacher in Chapin, South Carolina, read his book — a letter to his teenage-son about the realities of being Black in the United States — and decided to use it as an example of how to write a persuasive essay. “We have lived under a class of people who ruled American culture with a flaming cross for so long that we regularly cease to notice the import of being ruled at all,” writes Coates.\u003c/p>\n\u003cp>The final, and longest, essay encompasses a 10-day trip Coates takes to the Middle East. Like his journey to Senegal, it’s his first time in the region, and the experience really opens his eyes. “Of all the worlds I have ever explored, I don’t think any shone so bright, so intense, so immediately as Palestine.” That’s because everywhere he looks he sees familiar signs of subjugation. The parallels between being Black in America and Palestinian in the Middle East are myriad. “The state had one message to the Palestinians within its borders … ‘You’d really be better off somewhere else,’” writes Coates. But while it’s a message Coates clearly conveys in his essay, he realizes it’s not his story to tell. “If Palestinians are to be truly seen it will be through stories woven by their own hands — not by their plunderers, not even by their comrades.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Message’ by Ta-Nehisi Coates is out now, via One World.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13965980/the-message-book-review-ta-nehisi-coates-senegal-south-carolina-middle-east","authors":["byline_arts_13965980"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_75"],"tags":["arts_21679","arts_769","arts_585"],"featImg":"arts_13965985","label":"arts_140"},"arts_13965970":{"type":"posts","id":"arts_13965970","meta":{"index":"posts_1716263798","site":"arts","id":"13965970","score":null,"sort":[1727893428000]},"guestAuthors":[],"slug":"the-outrun-movie-review-saoirse-ronan-amy-liptrot-memoir","title":"A Transcendent Saoirse Ronan Illuminates True-Life Addiction Drama ‘The Outrun’","publishDate":1727893428,"format":"standard","headTitle":"A Transcendent Saoirse Ronan Illuminates True-Life Addiction Drama ‘The Outrun’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>At some point during \u003cem>The Outrun\u003c/em>, it occurred to me that watching Saoirse Ronan act is a bit like looking into a magnifying glass: Everything somehow feels a bit clearer, sharper, more precise.\u003c/p>\n\u003cp>This singular actor gives one of her finest performances in a two-hour study of addiction that is poignant, sometimes beautiful but always painful to watch — and would likely be too draining if not for the luminous presence at its core. Would it even work — at all — if Ronan, who also makes her producing debut here, weren’t onscreen virtually every second?\u003c/p>\n\u003cp>[aside postid='arts_13964034']Luckily, we don’t need to imagine that. Ronan, who plays a 29-year-old biology student named Rona (the name comes from a tiny island off Scotland) serves as both star and narrator, speaking the words — sometimes poetic — of the addiction memoir by Amy Liptrot. The script, adapted by Liptrot and director Nora Fingscheidt, makes frequent use of fantasy and whimsy, even veering into animation. Some may find these deviations a distraction from the plot, but they are frequently mesmerizing.\u003c/p>\n\u003cp>Besides, plot is a loosely defined thing here. We go back and forth in time so frequently that sometimes only the changing color of Rona’s hair indicates where we are on the timeline. It takes a while to get used to this, but the uncertainty starts to make sense. We are, in a way, inside Rona’s mind, experiencing the fits and starts of her journey. And recovery is hardly a linear process.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Orxdn0Q67j0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a fine supporting cast, but the true second star is nature itself. The film is based mainly in the Orkney Islands off Scotland, a windswept landscape that can be both punishing and restorative. It can also be stunning, especially the sea. And the sea is where we start, learning that Orkney lore holds that when someone drowns, they turn into a seal, but at night they return ashore in human form and dance until dawn.\u003c/p>\n\u003cp>[aside postid='arts_13965555']We see a seal underwater, and then we see Ronan herself dancing — bathed in red light on a dance floor — and then falling down, blind drunk.\u003c/p>\n\u003cp>After this flashback, we learn Rona has come back home to her childhood home for an extended visit, after a decade in London, where addiction took hold and ruined her relationships — especially with thoughtful boyfriend Daynin (Paapa Essiedu), who achieved success as she disintegrated.\u003c/p>\n\u003cp>From nightlife in Hackney, London, to a sheep farm in Scotland, where the days of sobriety are ticked off for us — 30, 90, 117. The challenges here are different. Rona’s father, Andrew (Stephen Dillane), is loving but suffers bipolar episodes. Due to his debilitating illness he lives away from his wife, Annie (Saskia Reeves), who has turned to religion to cope — and that’s the only solution she can offer Rona.\u003c/p>\n\u003cp>Deeply lonely and always on the precipice of relapse, Rona sees a crack of light in the darkness when she takes on volunteer work with the Royal Society for the Protection of Birds, given the job of surveying the Orkney Islands for the disappearing corncrake. This bird needs help to survive, and soon it seems to represent Rona herself.\u003c/p>\n\u003cp>But Rona’s troubles follow her no matter how deep into the countryside she goes. As she tells fellow addicts in a devastating flashback from her alcohol recovery group, what she misses most is how good alcohol made her feel. At another point, she tells someone she’ll never be happy if she’s sober — and you believe her. In yet another harrowing scene, a relapse has her howling to her mother: “All that praying didn’t help me, Mum!”\u003c/p>\n\u003cp>[aside postid='arts_13965877']Eventually, Rona, aiming to get even farther from civilization than mainland Orkney, repairs to the tiny island of Papay — an island, as she notes, that is off an island, off another island, off another island, and off another. Here, during a brutal winter in a tiny bird warden’s house, interacting only with the town’s sparse population, Rona starts to heal. (Liptrot spent two winters here, writing her memoir.)\u003c/p>\n\u003cp>Perhaps Ronan’s most impressive accomplishment is how she delineates the stages of Rona’s journey with such clarity — even down to the physical movement of being drunk, first a bit, then a lot (she worked with the talented choreographer Wayne McGregor) and how one changes physically during recovery.\u003c/p>\n\u003cp>And then there’s her face. We see a translucent quality in it as Rona begins to embrace nature — her own, and that around her — and look to a new future. A future that may even include laughter.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Outrun’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"This adaptation of Amy Liptrot’s addiction memoir makes frequent use of fantasy and whimsy, even veering into animation.","status":"publish","parent":0,"modified":1727893428,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":827},"headData":{"title":"‘The Outrun’ Film Review: Saoirse Ronan Tackles Addiction | KQED","description":"This adaptation of Amy Liptrot’s addiction memoir makes frequent use of fantasy and whimsy, even veering into animation.","ogTitle":"A Transcendent Saoirse Ronan Illuminates True-Life Addiction Drama ‘The Outrun’","ogDescription":"","ogImgId":"","twTitle":"A Transcendent Saoirse Ronan Illuminates True-Life Addiction Drama ‘The Outrun’","twDescription":"","twImgId":"","socialTitle":"‘The Outrun’ Film Review: Saoirse Ronan Tackles Addiction %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Transcendent Saoirse Ronan Illuminates True-Life Addiction Drama ‘The Outrun’","datePublished":"2024-10-02T11:23:48-07:00","dateModified":"2024-10-02T11:23:48-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jocelyn Noveck, Associated Press","nprStoryId":"kqed-13965970","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13965970/the-outrun-movie-review-saoirse-ronan-amy-liptrot-memoir","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At some point during \u003cem>The Outrun\u003c/em>, it occurred to me that watching Saoirse Ronan act is a bit like looking into a magnifying glass: Everything somehow feels a bit clearer, sharper, more precise.\u003c/p>\n\u003cp>This singular actor gives one of her finest performances in a two-hour study of addiction that is poignant, sometimes beautiful but always painful to watch — and would likely be too draining if not for the luminous presence at its core. Would it even work — at all — if Ronan, who also makes her producing debut here, weren’t onscreen virtually every second?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13964034","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Luckily, we don’t need to imagine that. Ronan, who plays a 29-year-old biology student named Rona (the name comes from a tiny island off Scotland) serves as both star and narrator, speaking the words — sometimes poetic — of the addiction memoir by Amy Liptrot. The script, adapted by Liptrot and director Nora Fingscheidt, makes frequent use of fantasy and whimsy, even veering into animation. Some may find these deviations a distraction from the plot, but they are frequently mesmerizing.\u003c/p>\n\u003cp>Besides, plot is a loosely defined thing here. We go back and forth in time so frequently that sometimes only the changing color of Rona’s hair indicates where we are on the timeline. It takes a while to get used to this, but the uncertainty starts to make sense. We are, in a way, inside Rona’s mind, experiencing the fits and starts of her journey. And recovery is hardly a linear process.\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/Orxdn0Q67j0'\n title='//www.youtube.com/embed/Orxdn0Q67j0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a fine supporting cast, but the true second star is nature itself. The film is based mainly in the Orkney Islands off Scotland, a windswept landscape that can be both punishing and restorative. It can also be stunning, especially the sea. And the sea is where we start, learning that Orkney lore holds that when someone drowns, they turn into a seal, but at night they return ashore in human form and dance until dawn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965555","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We see a seal underwater, and then we see Ronan herself dancing — bathed in red light on a dance floor — and then falling down, blind drunk.\u003c/p>\n\u003cp>After this flashback, we learn Rona has come back home to her childhood home for an extended visit, after a decade in London, where addiction took hold and ruined her relationships — especially with thoughtful boyfriend Daynin (Paapa Essiedu), who achieved success as she disintegrated.\u003c/p>\n\u003cp>From nightlife in Hackney, London, to a sheep farm in Scotland, where the days of sobriety are ticked off for us — 30, 90, 117. The challenges here are different. Rona’s father, Andrew (Stephen Dillane), is loving but suffers bipolar episodes. Due to his debilitating illness he lives away from his wife, Annie (Saskia Reeves), who has turned to religion to cope — and that’s the only solution she can offer Rona.\u003c/p>\n\u003cp>Deeply lonely and always on the precipice of relapse, Rona sees a crack of light in the darkness when she takes on volunteer work with the Royal Society for the Protection of Birds, given the job of surveying the Orkney Islands for the disappearing corncrake. This bird needs help to survive, and soon it seems to represent Rona herself.\u003c/p>\n\u003cp>But Rona’s troubles follow her no matter how deep into the countryside she goes. As she tells fellow addicts in a devastating flashback from her alcohol recovery group, what she misses most is how good alcohol made her feel. At another point, she tells someone she’ll never be happy if she’s sober — and you believe her. In yet another harrowing scene, a relapse has her howling to her mother: “All that praying didn’t help me, Mum!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965877","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Eventually, Rona, aiming to get even farther from civilization than mainland Orkney, repairs to the tiny island of Papay — an island, as she notes, that is off an island, off another island, off another island, and off another. Here, during a brutal winter in a tiny bird warden’s house, interacting only with the town’s sparse population, Rona starts to heal. (Liptrot spent two winters here, writing her memoir.)\u003c/p>\n\u003cp>Perhaps Ronan’s most impressive accomplishment is how she delineates the stages of Rona’s journey with such clarity — even down to the physical movement of being drunk, first a bit, then a lot (she worked with the talented choreographer Wayne McGregor) and how one changes physically during recovery.\u003c/p>\n\u003cp>And then there’s her face. We see a translucent quality in it as Rona begins to embrace nature — her own, and that around her — and look to a new future. A future that may even include laughter.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Outrun’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13965970/the-outrun-movie-review-saoirse-ronan-amy-liptrot-memoir","authors":["byline_arts_13965970"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_769","arts_585"],"featImg":"arts_13965971","label":"arts_140"},"arts_13965913":{"type":"posts","id":"arts_13965913","meta":{"index":"posts_1716263798","site":"arts","id":"13965913","score":null,"sort":[1727817485000]},"guestAuthors":[],"slug":"john-lewis-a-life-further-humanizes-a-civil-rights-giant","title":"‘John Lewis: A Life’ Further Humanizes a Civil Rights Giant","publishDate":1727817485,"format":"aside","headTitle":"‘John Lewis: A Life’ Further Humanizes a Civil Rights Giant | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13965918\" class=\"wp-caption aligncenter\" style=\"max-width: 1367px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg.png\" alt=\"A book cover featuring a black and white portrait photograph of a serious young Black man.\" width=\"1367\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg.png 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-800x1170.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-1020x1492.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-768x1124.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-1050x1536.png 1050w\" sizes=\"(max-width: 1367px) 100vw, 1367px\">\u003cfigcaption class=\"wp-caption-text\">‘John Lewis: A Life’ by David Greenberg. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>John Lewis: A Life\u003c/em>, David Greenberg recounts how the late Democratic congressman reacted after Republicans scored a landslide victory in the 1994 election. A staffer hoped Lewis would buoy her spirits and tell her there was a silver lining.\u003c/p>\n\u003cp>Lewis instead told her, “There is no silver lining.”\u003c/p>\n\u003cp>[aside postid='arts_13869430']Exchanges like this that reveal moments of despair and vulnerability by the seemingly eternally optimistic Lewis are partly what makes Greenberg’s biography of the Civil Rights icon so remarkable. It would have been easy to write a book that veers into hagiography for someone who became the nation’s moral authority on civil rights and a younger generation’s link to the Rev. Martin Luther King Jr.\u003c/p>\n\u003cp>Greenberg instead offers a more complete portrait of Lewis’ evolution and his political education. Greenberg conducted hundreds of interviews for the biography, including with Lewis himself, and that work shows throughout the book.\u003c/p>\n\u003cp>Greenberg sketches the familiar highlights of Lewis’ life, from a boy who preached to chickens on his family’s farm to an activist who sustained a fractured skull when he was beaten by police during the “Bloody Sunday” march that helped lead to the passage of the Voting Rights Act.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He also outlines Lewis’ years in the public arena, as a member of Atlanta’s city council and later as a veteran congressman revered by both Democrats and Republicans.\u003c/p>\n\u003cp>But the biography does an excellent job of giving readers the context of Lewis’ life, including rifts between him and other giants of the movement. And it provides an inside look at how Lewis honed his political skills over time, particularly advocating for the Voting Rights Act’s passage and later its reauthorization.\u003c/p>\n\u003cp>[aside postid='arts_13960144']Greenberg also recounts how Lewis was a early and vocal ally of the gay and lesbian community, advocating for their rights when even other liberal politicians kept their distance.\u003c/p>\n\u003cp>Throughout the book, Greenberg further humanizes Lewis by taking readers inside his family life including his strong relationship with his wife and details on how he spent his final days before succumbing to cancer in 2020.\u003c/p>\n\u003cp>The poem “Invictus” by William Ernest Henley plays a starring role in the biography, which describes how Lewis would recite its verses as a child and would later chant them in his office. Just like that poem, Greenberg’s riveting biography describes someone who was the captain of his soul.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘John Lewis: A Life’ by David Greenberg is released on Oct. 8, 2024, via Simon & Schuster.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"David Greenberg conducted hundreds of interviews, offering a complete portrait of Lewis’ evolution and political education.","status":"publish","parent":0,"modified":1727817485,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":453},"headData":{"title":"Book Review: ‘John Lewis: A Life’ by David Greenberg | KQED","description":"David Greenberg conducted hundreds of interviews, offering a complete portrait of Lewis’ evolution and political education.","ogTitle":"‘John Lewis: A Life’ Further Humanizes a Civil Rights Giant","ogDescription":"","ogImgId":"","twTitle":"‘John Lewis: A Life’ Further Humanizes a Civil Rights Giant","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘John Lewis: A Life’ by David Greenberg %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘John Lewis: A Life’ Further Humanizes a Civil Rights Giant","datePublished":"2024-10-01T14:18:05-07:00","dateModified":"2024-10-01T14:18:05-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Andrew DeMillo, Associated Press","nprStoryId":"kqed-13965913","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13965913/john-lewis-a-life-further-humanizes-a-civil-rights-giant","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13965918\" class=\"wp-caption aligncenter\" style=\"max-width: 1367px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965918\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg.png\" alt=\"A book cover featuring a black and white portrait photograph of a serious young Black man.\" width=\"1367\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg.png 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-800x1170.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-1020x1492.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-768x1124.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/jl-dg-1050x1536.png 1050w\" sizes=\"(max-width: 1367px) 100vw, 1367px\">\u003cfigcaption class=\"wp-caption-text\">‘John Lewis: A Life’ by David Greenberg. \u003ccite>(Simon & Schuster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>John Lewis: A Life\u003c/em>, David Greenberg recounts how the late Democratic congressman reacted after Republicans scored a landslide victory in the 1994 election. A staffer hoped Lewis would buoy her spirits and tell her there was a silver lining.\u003c/p>\n\u003cp>Lewis instead told her, “There is no silver lining.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13869430","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Exchanges like this that reveal moments of despair and vulnerability by the seemingly eternally optimistic Lewis are partly what makes Greenberg’s biography of the Civil Rights icon so remarkable. It would have been easy to write a book that veers into hagiography for someone who became the nation’s moral authority on civil rights and a younger generation’s link to the Rev. Martin Luther King Jr.\u003c/p>\n\u003cp>Greenberg instead offers a more complete portrait of Lewis’ evolution and his political education. Greenberg conducted hundreds of interviews for the biography, including with Lewis himself, and that work shows throughout the book.\u003c/p>\n\u003cp>Greenberg sketches the familiar highlights of Lewis’ life, from a boy who preached to chickens on his family’s farm to an activist who sustained a fractured skull when he was beaten by police during the “Bloody Sunday” march that helped lead to the passage of the Voting Rights Act.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He also outlines Lewis’ years in the public arena, as a member of Atlanta’s city council and later as a veteran congressman revered by both Democrats and Republicans.\u003c/p>\n\u003cp>But the biography does an excellent job of giving readers the context of Lewis’ life, including rifts between him and other giants of the movement. And it provides an inside look at how Lewis honed his political skills over time, particularly advocating for the Voting Rights Act’s passage and later its reauthorization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13960144","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Greenberg also recounts how Lewis was a early and vocal ally of the gay and lesbian community, advocating for their rights when even other liberal politicians kept their distance.\u003c/p>\n\u003cp>Throughout the book, Greenberg further humanizes Lewis by taking readers inside his family life including his strong relationship with his wife and details on how he spent his final days before succumbing to cancer in 2020.\u003c/p>\n\u003cp>The poem “Invictus” by William Ernest Henley plays a starring role in the biography, which describes how Lewis would recite its verses as a child and would later chant them in his office. Just like that poem, Greenberg’s riveting biography describes someone who was the captain of his soul.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘John Lewis: A Life’ by David Greenberg is released on Oct. 8, 2024, via Simon & Schuster.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13965913/john-lewis-a-life-further-humanizes-a-civil-rights-giant","authors":["byline_arts_13965913"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_7862"],"tags":["arts_2733","arts_21679","arts_3650","arts_769","arts_585"],"featImg":"arts_13965919","label":"arts_140"},"arts_13965719":{"type":"posts","id":"arts_13965719","meta":{"index":"posts_1716263798","site":"arts","id":"13965719","score":null,"sort":[1727717248000]},"guestAuthors":[],"slug":"portola-festival-review-photos-san-francisco-2024","title":"Portola Fest’s Best Sets, Plus One Perplexing ‘Huh?!’","publishDate":1727717248,"format":"standard","headTitle":"Portola Fest’s Best Sets, Plus One Perplexing ‘Huh?!’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>[aside postID='arts_13965861']San Francisco music festival \u003ca href=\"https://portolamusicfestival.com/\">Portola\u003c/a> returned over the weekend with a lineup of international acts like French DJs Justice and Gesaffelstein, U.K. hitmakers Disclosure and M.I.A., Australian producer Fisher — plus homegrown heroes Deltron 3030 and more.\u003c/p>\n\u003cp>With its industrial setting at Pier 80, plus a giant disco ball literally hanging off a shipping crane, Portola took the gritty vibe of a warehouse rave and scaled it up into a major happening. Below are some of this year’s highlights.\u003c/p>\n\u003cfigure id=\"attachment_13965756\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jessie Ware danced with the ‘Beautiful People’\u003c/h2>\n\u003cp>Jessie Ware’s performance at the Pier Stage on Saturday afternoon was a groovy, disco-pop celebration. Dressed in a shimmering silver full-length dress with white accent feathers, Ware and her two charismatic dancers had the crowd jumping as she performed some of her latest hits, including “What’s Your Pleasure,” “Spotlight” and “Save a Kiss.”\u003c/p>\n\u003cp>Launching into her track “Beautiful People” from her 2023 album \u003cem>That! Feels Good!\u003c/em>, Ware showed extra love to the audience as she taught them dance moves. The real pearl, though, was when Ware surprised the crowd by breaking into her own rendition of “Believe” by Cher and slipping into the audience to dance with ecstatic festival-goers. “How do I get out of here?” Ware asked, laughing at herself as she wove through the throngs of people. After the dance party, Ware’s closing song “Free Yourself” only felt fitting. \u003cem>— Shannon Faulise\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965768\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A nostalgic set from Natasha Bedingfield\u003c/h2>\n\u003cp>For 15 beautiful minutes, the Portola crowd entered a nostalgic fantasy as Natasha Bedingfield took the stage decked out in a cheetah print bodysuit. After psyching everyone out with the intro to “Gonna Make You Sweat (Everybody Dance Now),” Bedingfield got the crowd dancing immediately with her 2008 hit “Pocketful of Sunshine.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With heavy, thudding bass accompanying her softer pop, Bedingfield’s performances of her early 2000s discography felt modern and updated. Her 2004 hit song “These Words” already got an official 2024 makeover release earlier this year, but Bedingfield went back to basics for her final track. The very moment the instrumentals started for “Unwritten,” the crowd’s energy surged, and fans screamed along to every word, nearly matching Bedingfield’s volume as she belted out the lyrics in her familiar, raspy tone: “Today is where your book begins / The rest is still unwritten.” \u003cem>— Shannon Faulise\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965777\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gesaffelstein performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Gesaffelstein put the audience in a trance\u003c/h2>\n\u003cp>French producer Gesaffelstein brought the energy right up until the very end. Covered in shiny, sleek black material from head to toe, Gesaffelstein’s festival look matched his setup: two clusters of giant, black crystals atop a set of black risers. He didn’t introduce himself like other artists. He actually didn’t speak to the crowd at all — and he didn’t need to. When he lifted his arm over his head, the crowd immediately followed, raising theirs with him.\u003c/p>\n\u003cp>Gesaffelstein, whose discography spans more than a decade, kept fans bobbing along to dark synth-pop tracks like “Hard Dreams” from his most recent album \u003cem>Gamma\u003c/em>, as well as harder techno favorites like “Opr” from 2011’s \u003cem>Conspiracy Pt.2\u003c/em>.\u003c/p>\n\u003cp>Standing in a prism of red light, surrounded by fog, his visuals met at the intersection of electronic and gothic. He popped his shoulders with the crowd as they vibed to his heavy, trance-inducing beats, black crystals glowing throughout. He left just as quietly as he arrived, waving to the crowd before vanishing into his set’s smoky aftermath. \u003cem>— Shannon Faulise\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965784\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Rebecca Black performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rebecca Black, queen of camp\u003c/h2>\n\u003cp>The coolest way to reclaim a cringy song you made in middle school? Make a chipmunk-voiced hyperpop remix of it and get a tent full of vaping ravers to scream the lyrics while jumping up and down. At least that’s what Rebecca Black did at Portola Sunday. “Whether you’re here because you know me from one thing or the other or a DJ set, I don’t give a fuck,” she said with an ironic eye roll while warmly thanking the crowd.\u003c/p>\n\u003cp>If you haven’t paid attention since “Friday” went viral for the wrong reasons in 2011, Black grew up to make queer pop with a heavy dose of camp. On stage, her vocals were strong and unpretentious. She served 2000s pop diva choreo, flanked by two chiseled male dancers wearing gigantic, bouncing rubber boobs (at one point, the three of them rode a mic stand like a broomstick). At a festival with many stoic DJs, Black’s set was one of the weirdest, most carefree and entertaining. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965808\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965808\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>M.I.A. left the audience confused\u003c/h2>\n\u003cp>M.I.A.’s Sunday Portola set was perplexing. The U.K. star who came up in the 2000s as a champion of refugees and immigrants recently took a rightward turn, endorsing Donald Trump and aligning herself with conspiracy theorist Alex Jones. Between solid performances of hits like “Bad Girls” and “Bucky Done Gun,” she ranted about being canceled and inserted strange commentary that fell flat.\u003c/p>\n\u003cp>“Before Nicki had this wig, M.I.A. had this wig; before Rihanna had this wig, M.I.A. had this wig,” she said, pointing to a red wig not very reminiscent of either pop star. “Before Kamala Harris, there was M.I.A.” Huh?\u003c/p>\n\u003cp>High-energy performances of “XR2,” “Come Around” and “Bamboo Banga” harkened back to M.I.A.’s arrival on the scene with a completely fresh, global sound, but the rest of the set left a lot of people scratching their heads. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Disclosure performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Disclosure’s feel-good dance floor\u003c/h2>\n\u003cp>U.K. house music giants Disclosure presided over a funky dance party at Portola’s main stage — their first time performing in San Francisco in eight years. Their 75-minute set reached back to early hits like the gospel sermon-infused “When a Fire Starts to Burn,” which the duo — consisting of Howard and Guy Lawrence — accented with live percussion, keys and bass. The brothers joked about dropping “a deep cut no one knows” before performing “Latch,” their mega-hit with Sam Smith. Throughout classics and newer tracks like “Douha (Mali Mali)” featuring Malian singer Fatoumata Diawara, the Lawrences switched between a drum kit, timbales, sample pads, an electronic xylophone and a collection of synths, clearly enjoying themselves and adding dynamism that kept the crowd guessing as they grooved. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>See more photos below. \u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13965791\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Horsegiirl performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965762\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jpegmafia performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965748\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965748\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tycho performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965738\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965738\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Empress Of performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965751\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965751\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Soulwax performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Deltron 3030 performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Honey Dijon performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965816\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fisher performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965809\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Justice performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965807\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71.jpg\" alt=\"\" width=\"1920\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-1536x1017.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">M.I.A. performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965758\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965758\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"Highlights of the gritty warehouse festival included Jessie Ware, Natasha Bedingfield, Disclosure and Rebecca Black.","status":"publish","parent":0,"modified":1727800427,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1514},"headData":{"title":"Review: Portola Fest’s Best Sets, Plus One Perplexing ‘Huh?!’ | KQED","description":"Highlights of the gritty warehouse festival included Jessie Ware, Natasha Bedingfield, Disclosure and Rebecca Black.","ogTitle":"Portola Fest’s Best Sets, Plus One Perplexing ‘Huh?!’","ogDescription":"","ogImgId":"arts_13965756","twTitle":"Portola Fest’s Best Sets, Plus One Perplexing ‘Huh?!’","twDescription":"","twImgId":"arts_13965768","socialTitle":"Review: Portola Fest’s Best Sets, Plus One Perplexing ‘Huh?!’ %%page%% %%sep%% KQED","socialDescription":"Highlights of the gritty warehouse festival included Jessie Ware, Natasha Bedingfield, Disclosure and Rebecca Black.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Portola Fest’s Best Sets, Plus One Perplexing ‘Huh?!’","datePublished":"2024-09-30T10:27:28-07:00","dateModified":"2024-10-01T09:33:47-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13965719","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13965719/portola-festival-review-photos-san-francisco-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965861","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>San Francisco music festival \u003ca href=\"https://portolamusicfestival.com/\">Portola\u003c/a> returned over the weekend with a lineup of international acts like French DJs Justice and Gesaffelstein, U.K. hitmakers Disclosure and M.I.A., Australian producer Fisher — plus homegrown heroes Deltron 3030 and more.\u003c/p>\n\u003cp>With its industrial setting at Pier 80, plus a giant disco ball literally hanging off a shipping crane, Portola took the gritty vibe of a warehouse rave and scaled it up into a major happening. Below are some of this year’s highlights.\u003c/p>\n\u003cfigure id=\"attachment_13965756\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965756\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_20-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jessie Ware danced with the ‘Beautiful People’\u003c/h2>\n\u003cp>Jessie Ware’s performance at the Pier Stage on Saturday afternoon was a groovy, disco-pop celebration. Dressed in a shimmering silver full-length dress with white accent feathers, Ware and her two charismatic dancers had the crowd jumping as she performed some of her latest hits, including “What’s Your Pleasure,” “Spotlight” and “Save a Kiss.”\u003c/p>\n\u003cp>Launching into her track “Beautiful People” from her 2023 album \u003cem>That! Feels Good!\u003c/em>, Ware showed extra love to the audience as she taught them dance moves. The real pearl, though, was when Ware surprised the crowd by breaking into her own rendition of “Believe” by Cher and slipping into the audience to dance with ecstatic festival-goers. “How do I get out of here?” Ware asked, laughing at herself as she wove through the throngs of people. After the dance party, Ware’s closing song “Free Yourself” only felt fitting. \u003cem>— Shannon Faulise\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965768\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965768\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A nostalgic set from Natasha Bedingfield\u003c/h2>\n\u003cp>For 15 beautiful minutes, the Portola crowd entered a nostalgic fantasy as Natasha Bedingfield took the stage decked out in a cheetah print bodysuit. After psyching everyone out with the intro to “Gonna Make You Sweat (Everybody Dance Now),” Bedingfield got the crowd dancing immediately with her 2008 hit “Pocketful of Sunshine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With heavy, thudding bass accompanying her softer pop, Bedingfield’s performances of her early 2000s discography felt modern and updated. Her 2004 hit song “These Words” already got an official 2024 makeover release earlier this year, but Bedingfield went back to basics for her final track. The very moment the instrumentals started for “Unwritten,” the crowd’s energy surged, and fans screamed along to every word, nearly matching Bedingfield’s volume as she belted out the lyrics in her familiar, raspy tone: “Today is where your book begins / The rest is still unwritten.” \u003cem>— Shannon Faulise\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965777\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gesaffelstein performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Gesaffelstein put the audience in a trance\u003c/h2>\n\u003cp>French producer Gesaffelstein brought the energy right up until the very end. Covered in shiny, sleek black material from head to toe, Gesaffelstein’s festival look matched his setup: two clusters of giant, black crystals atop a set of black risers. He didn’t introduce himself like other artists. He actually didn’t speak to the crowd at all — and he didn’t need to. When he lifted his arm over his head, the crowd immediately followed, raising theirs with him.\u003c/p>\n\u003cp>Gesaffelstein, whose discography spans more than a decade, kept fans bobbing along to dark synth-pop tracks like “Hard Dreams” from his most recent album \u003cem>Gamma\u003c/em>, as well as harder techno favorites like “Opr” from 2011’s \u003cem>Conspiracy Pt.2\u003c/em>.\u003c/p>\n\u003cp>Standing in a prism of red light, surrounded by fog, his visuals met at the intersection of electronic and gothic. He popped his shoulders with the crowd as they vibed to his heavy, trance-inducing beats, black crystals glowing throughout. He left just as quietly as he arrived, waving to the crowd before vanishing into his set’s smoky aftermath. \u003cem>— Shannon Faulise\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965784\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_48-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Rebecca Black performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rebecca Black, queen of camp\u003c/h2>\n\u003cp>The coolest way to reclaim a cringy song you made in middle school? Make a chipmunk-voiced hyperpop remix of it and get a tent full of vaping ravers to scream the lyrics while jumping up and down. At least that’s what Rebecca Black did at Portola Sunday. “Whether you’re here because you know me from one thing or the other or a DJ set, I don’t give a fuck,” she said with an ironic eye roll while warmly thanking the crowd.\u003c/p>\n\u003cp>If you haven’t paid attention since “Friday” went viral for the wrong reasons in 2011, Black grew up to make queer pop with a heavy dose of camp. On stage, her vocals were strong and unpretentious. She served 2000s pop diva choreo, flanked by two chiseled male dancers wearing gigantic, bouncing rubber boobs (at one point, the three of them rode a mic stand like a broomstick). At a festival with many stoic DJs, Black’s set was one of the weirdest, most carefree and entertaining. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965808\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965808\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_72-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>M.I.A. left the audience confused\u003c/h2>\n\u003cp>M.I.A.’s Sunday Portola set was perplexing. The U.K. star who came up in the 2000s as a champion of refugees and immigrants recently took a rightward turn, endorsing Donald Trump and aligning herself with conspiracy theorist Alex Jones. Between solid performances of hits like “Bad Girls” and “Bucky Done Gun,” she ranted about being canceled and inserted strange commentary that fell flat.\u003c/p>\n\u003cp>“Before Nicki had this wig, M.I.A. had this wig; before Rihanna had this wig, M.I.A. had this wig,” she said, pointing to a red wig not very reminiscent of either pop star. “Before Kamala Harris, there was M.I.A.” Huh?\u003c/p>\n\u003cp>High-energy performances of “XR2,” “Come Around” and “Bamboo Banga” harkened back to M.I.A.’s arrival on the scene with a completely fresh, global sound, but the rest of the set left a lot of people scratching their heads. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13965795\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965795\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Disclosure performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Disclosure’s feel-good dance floor\u003c/h2>\n\u003cp>U.K. house music giants Disclosure presided over a funky dance party at Portola’s main stage — their first time performing in San Francisco in eight years. Their 75-minute set reached back to early hits like the gospel sermon-infused “When a Fire Starts to Burn,” which the duo — consisting of Howard and Guy Lawrence — accented with live percussion, keys and bass. The brothers joked about dropping “a deep cut no one knows” before performing “Latch,” their mega-hit with Sam Smith. Throughout classics and newer tracks like “Douha (Mali Mali)” featuring Malian singer Fatoumata Diawara, the Lawrences switched between a drum kit, timbales, sample pads, an electronic xylophone and a collection of synths, clearly enjoying themselves and adding dynamism that kept the crowd guessing as they grooved. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>See more photos below. \u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13965791\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_55-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Horsegiirl performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965762\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jpegmafia performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965748\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965748\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_12-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tycho performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965738\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965738\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_02-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Empress Of performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965751\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965751\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_15-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joy Orbison performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Soulwax performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_37-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Deltron 3030 performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_67-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Honey Dijon performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965816\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965816\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_80-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fisher performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965809\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_73-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Justice performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965807\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965807\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71.jpg\" alt=\"\" width=\"1920\" height=\"1271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_71-1536x1017.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">M.I.A. performs at Portola Music Festival in San Francisco on Sunday, Sept. 29, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_30A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Natasha Bedingfield performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13965758\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965758\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240928_Portola_EG_22-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jessie Ware performs at Portola Music Festival in San Francisco on Saturday, Sept. 28, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13965719/portola-festival-review-photos-san-francisco-2024","authors":["11387","11919"],"categories":["arts_1","arts_69"],"tags":["arts_10342","arts_10278","arts_22068","arts_22333","arts_769"],"featImg":"arts_13965783","label":"arts"},"arts_13965684":{"type":"posts","id":"arts_13965684","meta":{"index":"posts_1716263798","site":"arts","id":"13965684","score":null,"sort":[1727463369000]},"guestAuthors":[],"slug":"sally-rooney-new-book-intermezzo-review-novel","title":"‘Intermezzo’ Is Sally Rooney’s Most Moving Novel Yet","publishDate":1727463369,"format":"aside","headTitle":"‘Intermezzo’ Is Sally Rooney’s Most Moving Novel Yet | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cfigure id=\"attachment_13965685\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg\" alt=\"A book cover showing chess pieces on a board viewed from above. The shadows each piece creates resembles the outline of a person.\" width=\"978\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-800x1227.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-160x245.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-768x1178.jpeg 768w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">‘Intermezzo’ by Sally Rooney. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sally Rooney, who made such a splash with her first novel, \u003cem>Conversations with Friends, \u003c/em>back in 2017, has made it clear with each succeeding book that she is no flash in the pan. \u003cem>Intermezzo\u003c/em>, her fourth novel, is her most fully developed and moving yet.\u003c/p>\n\u003cp>It’s about two Irish brothers, 32-year-old Peter Koubek, a Dublin lawyer, and 22-year-old Ivan, a chess prodigy, and their troubled relationships with each other and the women in their lives. After their mother moved in with another man when Ivan was small, they were raised mainly by their father, an engineer who immigrated to Ireland in the 1980s from Slovakia. We meet them soon after their father’s death following years battling cancer. Both brothers, at loose ends, are struggling with the question, “Under what conditions is life endurable?”\u003c/p>\n\u003cp>[aside postid='arts_13965284']The simple answer, consistent throughout Rooney’s work, is that what makes life not just endurable but rich and meaningful is connecting with others, romantically and platonically, through deep conversations and love, which is easier said than done\u003cstrong>.\u003c/strong> Her novels take us down long and winding roads in search of often elusive fulfillment.\u003c/p>\n\u003cp>\u003cem>Intermezzo, \u003c/em>although filled with plenty of grief and strife, is less disturbing (and ultimately happier, if never exactly sunny) than the early novels, including \u003ca href=\"https://www.npr.org/2019/04/09/711377704/personal-demons-and-class-differences-complicate-love-in-normal-people\">\u003cem>Normal People\u003c/em>\u003c/a> (2018) and \u003ca href=\"https://www.npr.org/2021/09/02/1031904202/sally-rooney-review-beautiful-world-where-are-you\">\u003cem>Beautiful World, Where Are You\u003c/em>\u003c/a> (2021). The ever-resonant conversations, often about delicate subjects, are still alternately soul-baring and couched, plaintive and meandering. The sex scenes — physical expressions of her characters’ emotional communions — are as beautiful as ever. But \u003cem>Intermezzo \u003c/em>is focused less on topical questions about how to live in a troubled, increasingly unviable world and more on the psychological ramifications of love, loss and heartache.\u003c/p>\n\u003cp>About the title: The word intermezzo, meaning an interlude in a drama, opera, or musical work, can also refer to a light palate cleanser between courses in a rich meal. Amusingly, \u003cem>Intermezzo \u003c/em>is also the brand name of a form of the insomnia medication, zolpidem. But more relevant to Rooney’s novel is its sense as an unexpected move in chess. The narrative of \u003cem>Intermezzo, \u003c/em>in which Rooney continually rearranges her characters like pieces on a chessboard, features many game-changing surprise moves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wouldn’t be a Rooney novel without romantic entanglements. Peter’s are complicated. For months, he has been involved in an “ongoing sexual and also quietly financial relationship” with Naomi, a university student who supports herself with occasional sex work. He’s fond of her, but is haunted by his abiding love for his college girlfriend, Sylvia Larkin, now a professor of modern literature. Sylvia broke up with him six years earlier after a debilitating accident, insisting that she didn’t want to ruin his life. Peter has never gotten over her, which makes him feel guilty about leading Naomi on.\u003c/p>\n\u003cp>Rooney conveys Peter’s desperate, suicidal state with a Joycean staccato, jangled stream-of-consciousness: “Thoughts rattling and noisy almost always and then when quiet frightening unhappy. Mental not right maybe. Never maybe was.”\u003c/p>\n\u003cp>[aside postid='arts_13964548']While Peter sees Naomi mainly in her grungy, noisy, illegal shared flat, he and Sylvia meet regularly for civilized meals and arm-in-arm strolls through familiar streets in the rain. (It’s always raining in this novel.) They talk easily about her lectures and a big discrimination case he has won against a business with a demeaning dress code for its female employees. Rooney conveys the enormous comfort Peter finds in Sylvia so well that we share “the deep replenishing reservoir of her presence.”\u003c/p>\n\u003cp>Ivan is as socially awkward and reticent as his brother is dominant and ambitious. Despite a degree in theoretical physics, he barely supports himself, taking on just enough freelance data analysis work to enable him to focus on competitive chess. After a weekend chess exhibition where he plays 10 people at once at a local arts council several hours outside Dublin, the program director gives him a lift to his rented lodging for the night. Margaret, 14 years Ivan’s senior, is guiltily separated from her alcoholic husband. The tentative but intense connection that unfolds between these two sidelined people is one of the great pleasures of this novel.\u003c/p>\n\u003cp>When the brothers get together for dinner at Sylvia’s urging, Ivan cautiously opens up about his new relationship. Peter’s kneejerk reaction is disparaging, which causes Ivan to hit back: “I’ve hated you my entire life.” With its fraught fraternal dynamic, \u003cem>Intermezzo \u003c/em>taps into a classic literary theme — think Cain and Abel, Dostoyevsky’s \u003cem>The Brothers Karamazov, \u003c/em>Elizabeth Strout’s\u003cem> The Burgess Boys, \u003c/em>Sam Shepard’s\u003cem> True West,\u003c/em> and even James Herriot’s \u003cem>All Creatures Great and Small.\u003c/em>\u003c/p>\n\u003cp>The novel is also sprinkled with fragmented quotes from various literary classics, including \u003cem>Hamlet, The Waste Land, The Golden Bowl,\u003c/em> and \u003cem>Ulysses\u003c/em> — which Rooney duly cites in her endnotes. But don’t let the erudition put you off. Embedding quotes from beloved texts has become popular with writers, at once a way of paying homage and adding layers of meaning.\u003c/p>\n\u003cp>[aside postid='arts_13963867']\u003cem>Intermezzo \u003c/em>propels you to its well-earned, moving climax with nary a false move. This story about learning how to accept loss and pain ultimately involves the exhilaration of flinging all the windows and doors of life wide open: “Everything exposed to light and air. Nothing protected, nothing left to be protected anymore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another question Rooney’s characters ponder: “What can life be made to accommodate, what can one life hold inside itself without breaking?” Apparently — like this novel — quite a lot.\u003c/p>\n\n","blocks":[],"excerpt":"Rooney's fourth novel is a story about learning to accept loss — a journey with a fair amount of grief and strife.","status":"publish","parent":0,"modified":1727463369,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":985},"headData":{"title":"Book Review: ‘Intermezzo’ by Sally Rooney | KQED","description":"Rooney's fourth novel is a story about learning to accept loss — a journey with a fair amount of grief and strife.","ogTitle":"‘Intermezzo’ Is Sally Rooney’s Most Moving Novel Yet","ogDescription":"","ogImgId":"","twTitle":"‘Intermezzo’ Is Sally Rooney’s Most Moving Novel Yet","twDescription":"","twImgId":"","socialTitle":"Book Review: ‘Intermezzo’ by Sally Rooney %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Intermezzo’ Is Sally Rooney’s Most Moving Novel Yet","datePublished":"2024-09-27T11:56:09-07:00","dateModified":"2024-09-27T11:56:09-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Heller McAlpin, NPR","nprStoryId":"nx-s1-5100222","nprHtmlLink":"https://www.npr.org/2024/09/24/nx-s1-5100222/intermezzo-review-sally-rooney","nprRetrievedStory":"1","nprPubDate":"2024-09-24T10:02:29.214-04:00","nprStoryDate":"2024-09-24T10:02:29.214-04:00","nprLastModifiedDate":"2024-09-24T10:02:29.214-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13965684/sally-rooney-new-book-intermezzo-review-novel","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13965685\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg\" alt=\"A book cover showing chess pieces on a board viewed from above. The shadows each piece creates resembles the outline of a person.\" width=\"978\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-800x1227.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-160x245.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-768x1178.jpeg 768w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">‘Intermezzo’ by Sally Rooney. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sally Rooney, who made such a splash with her first novel, \u003cem>Conversations with Friends, \u003c/em>back in 2017, has made it clear with each succeeding book that she is no flash in the pan. \u003cem>Intermezzo\u003c/em>, her fourth novel, is her most fully developed and moving yet.\u003c/p>\n\u003cp>It’s about two Irish brothers, 32-year-old Peter Koubek, a Dublin lawyer, and 22-year-old Ivan, a chess prodigy, and their troubled relationships with each other and the women in their lives. After their mother moved in with another man when Ivan was small, they were raised mainly by their father, an engineer who immigrated to Ireland in the 1980s from Slovakia. We meet them soon after their father’s death following years battling cancer. Both brothers, at loose ends, are struggling with the question, “Under what conditions is life endurable?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13965284","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The simple answer, consistent throughout Rooney’s work, is that what makes life not just endurable but rich and meaningful is connecting with others, romantically and platonically, through deep conversations and love, which is easier said than done\u003cstrong>.\u003c/strong> Her novels take us down long and winding roads in search of often elusive fulfillment.\u003c/p>\n\u003cp>\u003cem>Intermezzo, \u003c/em>although filled with plenty of grief and strife, is less disturbing (and ultimately happier, if never exactly sunny) than the early novels, including \u003ca href=\"https://www.npr.org/2019/04/09/711377704/personal-demons-and-class-differences-complicate-love-in-normal-people\">\u003cem>Normal People\u003c/em>\u003c/a> (2018) and \u003ca href=\"https://www.npr.org/2021/09/02/1031904202/sally-rooney-review-beautiful-world-where-are-you\">\u003cem>Beautiful World, Where Are You\u003c/em>\u003c/a> (2021). The ever-resonant conversations, often about delicate subjects, are still alternately soul-baring and couched, plaintive and meandering. The sex scenes — physical expressions of her characters’ emotional communions — are as beautiful as ever. But \u003cem>Intermezzo \u003c/em>is focused less on topical questions about how to live in a troubled, increasingly unviable world and more on the psychological ramifications of love, loss and heartache.\u003c/p>\n\u003cp>About the title: The word intermezzo, meaning an interlude in a drama, opera, or musical work, can also refer to a light palate cleanser between courses in a rich meal. Amusingly, \u003cem>Intermezzo \u003c/em>is also the brand name of a form of the insomnia medication, zolpidem. But more relevant to Rooney’s novel is its sense as an unexpected move in chess. The narrative of \u003cem>Intermezzo, \u003c/em>in which Rooney continually rearranges her characters like pieces on a chessboard, features many game-changing surprise moves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wouldn’t be a Rooney novel without romantic entanglements. Peter’s are complicated. For months, he has been involved in an “ongoing sexual and also quietly financial relationship” with Naomi, a university student who supports herself with occasional sex work. He’s fond of her, but is haunted by his abiding love for his college girlfriend, Sylvia Larkin, now a professor of modern literature. Sylvia broke up with him six years earlier after a debilitating accident, insisting that she didn’t want to ruin his life. Peter has never gotten over her, which makes him feel guilty about leading Naomi on.\u003c/p>\n\u003cp>Rooney conveys Peter’s desperate, suicidal state with a Joycean staccato, jangled stream-of-consciousness: “Thoughts rattling and noisy almost always and then when quiet frightening unhappy. Mental not right maybe. Never maybe was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13964548","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>While Peter sees Naomi mainly in her grungy, noisy, illegal shared flat, he and Sylvia meet regularly for civilized meals and arm-in-arm strolls through familiar streets in the rain. (It’s always raining in this novel.) They talk easily about her lectures and a big discrimination case he has won against a business with a demeaning dress code for its female employees. Rooney conveys the enormous comfort Peter finds in Sylvia so well that we share “the deep replenishing reservoir of her presence.”\u003c/p>\n\u003cp>Ivan is as socially awkward and reticent as his brother is dominant and ambitious. Despite a degree in theoretical physics, he barely supports himself, taking on just enough freelance data analysis work to enable him to focus on competitive chess. After a weekend chess exhibition where he plays 10 people at once at a local arts council several hours outside Dublin, the program director gives him a lift to his rented lodging for the night. Margaret, 14 years Ivan’s senior, is guiltily separated from her alcoholic husband. The tentative but intense connection that unfolds between these two sidelined people is one of the great pleasures of this novel.\u003c/p>\n\u003cp>When the brothers get together for dinner at Sylvia’s urging, Ivan cautiously opens up about his new relationship. Peter’s kneejerk reaction is disparaging, which causes Ivan to hit back: “I’ve hated you my entire life.” With its fraught fraternal dynamic, \u003cem>Intermezzo \u003c/em>taps into a classic literary theme — think Cain and Abel, Dostoyevsky’s \u003cem>The Brothers Karamazov, \u003c/em>Elizabeth Strout’s\u003cem> The Burgess Boys, \u003c/em>Sam Shepard’s\u003cem> True West,\u003c/em> and even James Herriot’s \u003cem>All Creatures Great and Small.\u003c/em>\u003c/p>\n\u003cp>The novel is also sprinkled with fragmented quotes from various literary classics, including \u003cem>Hamlet, The Waste Land, The Golden Bowl,\u003c/em> and \u003cem>Ulysses\u003c/em> — which Rooney duly cites in her endnotes. But don’t let the erudition put you off. Embedding quotes from beloved texts has become popular with writers, at once a way of paying homage and adding layers of meaning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13963867","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Intermezzo \u003c/em>propels you to its well-earned, moving climax with nary a false move. This story about learning how to accept loss and pain ultimately involves the exhilaration of flinging all the windows and doors of life wide open: “Everything exposed to light and air. Nothing protected, nothing left to be protected anymore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another question Rooney’s characters ponder: “What can life be made to accommodate, what can one life hold inside itself without breaking?” Apparently — like this novel — quite a lot.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13965684/sally-rooney-new-book-intermezzo-review-novel","authors":["byline_arts_13965684"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_75"],"tags":["arts_5221","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13965688","label":"arts_140"}},"programsReducer":{"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. 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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","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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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. 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