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"content": "\u003cp>When the art community bid adieu to the \u003ca href=\"https://wattis.org/\">Wattis Institute\u003c/a>’s decade-long home on Kansas Street earlier this year, I was heartbroken. It had been a good run of shows at the California College of the Arts’ exhibition space and research institute, as quiet and reflective as a selection of gelatin silver prints by \u003ca href=\"https://wattis.org/our-program/on-view/herve-guibert-this-more\">Hervé Guibert\u003c/a> and as boisterous and experimental as \u003ca href=\"https://wattis.org/our-program/on-view/drum-listens-to-heart\">a three-part deep-dive\u003c/a> into the relationship between music and visual art. \u003c/p>\n\u003cp>[aside postID='arts_13953171']I loved the Wattis for bringing ambitious programming to a location a bit off the beaten path. It was a hidden gem in the no-man’s land between the Mission and the Dogpatch.\u003c/p>\n\u003cp>Now, the Wattis has reopened, smack in the middle of CCA’s newly unified campus in San Francisco’s Design District. (The school closed its storied Oakland campus in 2022.) Though the campus opening coincides with the recent announcement of a \u003ca href=\"https://www.sfexaminer.com/culture/visual-arts/california-college-of-the-arts-faces-uncertain-future/article_54806a0a-9288-11ef-aec0-770b146e5db9.html\">$20 million deficit\u003c/a>, the new buildings are an impressive network of studios and classrooms, with the Wattis overlooking rooftop gardens and an amphitheater.\u003c/p>\n\u003cp>The Wattis is also under new leadership, with longtime director Anthony Huberman passing the torch to \u003ca href=\"https://www.kqed.org/arts/13953171/daisy-nam-wattis-institute-cca\">Daisy Nam\u003c/a>, who comes to San Francisco by way of Ballroom Marfa and Harvard’s Carpenter Center.\u003c/p>\n\u003cfigure id=\"attachment_13968082\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg\" alt=\"gallery with wall installation, framed photographs and a floor piece\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘All This Soft Wild Buzzing,’ 2024. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what better way is there to inaugurate the Wattis Institute’s new home than with an exhibition tapping artists with Bay Area ties whose work examines the concept of place?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://wattis.org/our-program/on-view/all-this-soft-wild-buzzing\">All This Soft Wild Buzzing\u003c/a>\u003c/i>, curated by Deputy Director and Director of Programs Jeanne Gerrity, features artists re-evaluating and re-mixing the legacy of landscape art. With particular attention to the American West, the show confronts and counters historical associations with Manifest Destiny that once undergirded the colonial framework of the landscape genre. \u003c/p>\n\u003cp>The group show features nine artists, including CCA alumni Saif Azzuz, Teresa Baker, Christopher Robin Duncan, Bessma Khalaf and \u003ca href=\"https://www.kqed.org/arts/13960861/dionne-lee-currents-cushion-works-review\">Dionne Lee\u003c/a>, alongside \u003ca href=\"https://www.kqed.org/arts/13963960/nicki-green-firmament-contemporary-jewish-museum-review\">Nicki Green\u003c/a>, Young Suh, Stephanie Syjuco and \u003ca href=\"https://www.kqed.org/arts/13961907/moad-zekarias-musele-thomspson-the-meeting-place-review\">Zekarias Musele Thompson\u003c/a>, working across disciplines that include sculpture, painting, installation and video.\u003c/p>\n\u003cfigure id=\"attachment_13968080\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000.jpg\" alt=\"two framed black-and-white photographs of landscapes with burned elements\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bessma Khalaf, ‘Burnout (Mt Shasta),’ 2023 and ‘Burnout (Redwoods),’ 2022. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True to Gerrity’s vision, each artist takes a different, unorthodox approach to landscape art. You won’t see pastoral paintings or panoramic photographs here. Instead, it all feels more hands-on: not exalting the sublime from a reverent, if safe, distance but instead wading in up to the neck and getting hands dirty. These artists are exploring nature with a sensibility that foregrounds collaboration and reciprocity.\u003c/p>\n\u003cp>Khalaf’s are some of the most traditional landscapes in the show — at least at a glance, they appear to be. The black-and-white photographs are actually pictures of pictures sourced from magazines and books, which Khalaf photographs after partially burning them. Similarly, Suh’s color photos of the mechanizations of environmental disaster might qualify as agrarian landscapes — if it weren’t for the figures of firefighters trawling like ants across the scorched earth. Both artists play in the space between beauty and destruction, between nature’s course and the human intervention that both interrupts and accelerates it.\u003c/p>\n\u003cp>Lee, who recently exhibited in the Whitney Biennial, contributes a multichannel video installation of footage shot in and about the American Southwest. Grayscale landscapes are spliced with fragments of Bureau of Land Management signage at the entrance to national parks admonishing viewers to “Notice: You are on federal lands,” while Lee reads excerpts from “\u003ca href=\"https://granta.com/observations-on-the-ground/\">Observations on the Ground\u003c/a>” by Mary Ruefle. Here, nature is all cerebral experience: a navigation not of the land itself but the human impositions that govern it.\u003c/p>\n\u003cfigure id=\"attachment_13968081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000.jpg\" alt=\"printed curtains with landscape images hung outside low-slung builidng\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco, ‘Double Vision (Projection),’ 2022–24. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of the artist and Catherine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a more direct engagement with nature, Duncan employed a photogram process to treat fabric he then exposed to sunlight on the rooftop of the old Wattis location. The finished piece acts as both a collaboration with nature and a relic of the venue’s history of place. Syjuco, in turn, has used fabric to activate the new gallery, draping curtains across the exterior that feature reinterpretations of American landscape painter Albert Bierstadt’s 19th-nineteenth century lithograph prints.\u003c/p>\n\u003cp>Similar outdoor activations will be a mainstay of future exhibitions, as well as special commissions that take advantage of the Wattis’ proximity to CCA’s fabrication studios. And while the new location certainly opens the doors for certain possibilities, it also closes doors to others. Because while \u003ci>All This Soft Wild Buzzing\u003c/i> explores the expanse of nature, spilling into the school’s outdoor spaces, that sprawl feels out of necessity rather than curatorial panache.\u003c/p>\n\u003cp>The old Wattis boasted a larger square footage, much higher ceilings and an open floor plan that could accommodate a variety of curatorial visions. It was expansive, pregnant with possibility. There’s something about the Wattis’ new home that feels limiting. \u003c/p>\n\u003cfigure id=\"attachment_13968087\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg\" alt=\"dark gallery with large projection across hanging screen, mushroom-like ceramics on pedestals\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968087\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘All This Soft Wild Buzzing’ with work by Dionne Lee and Nicki Green. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe it’s the separation of the space’s two discrete galleries by the narrow hallway accommodating an elevator shaft. Maybe it’s the fact that three of the gallery’s walls are made of glass, restricting the ability to display wall-hanging artworks. Maybe it’s the on-campus nature itself that feels claustrophobic (though there is potential for commingling between the student body and the larger Bay Area art scene).\u003c/p>\n\u003cp>While the Wattis’ inaugural show feels like a celebration of Bay Area art and landscape, unified by a strong curatorial vision, I keep thinking how it could have been better served in the old space, with more room to unfold both in situ and within the community. The old Wattis had a decade to explore the space it occupied. It remains to be seen how the Wattis team plays within, and expands beyond, its current confines.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://wattis.org/our-program/on-view/all-this-soft-wild-buzzing\">All This Soft Wild Buzzing\u003c/a>’ is on view at the Wattis Institute (145 Hooper St., San Francisco), through Dec. 14, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the art community bid adieu to the \u003ca href=\"https://wattis.org/\">Wattis Institute\u003c/a>’s decade-long home on Kansas Street earlier this year, I was heartbroken. It had been a good run of shows at the California College of the Arts’ exhibition space and research institute, as quiet and reflective as a selection of gelatin silver prints by \u003ca href=\"https://wattis.org/our-program/on-view/herve-guibert-this-more\">Hervé Guibert\u003c/a> and as boisterous and experimental as \u003ca href=\"https://wattis.org/our-program/on-view/drum-listens-to-heart\">a three-part deep-dive\u003c/a> into the relationship between music and visual art. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I loved the Wattis for bringing ambitious programming to a location a bit off the beaten path. It was a hidden gem in the no-man’s land between the Mission and the Dogpatch.\u003c/p>\n\u003cp>Now, the Wattis has reopened, smack in the middle of CCA’s newly unified campus in San Francisco’s Design District. (The school closed its storied Oakland campus in 2022.) Though the campus opening coincides with the recent announcement of a \u003ca href=\"https://www.sfexaminer.com/culture/visual-arts/california-college-of-the-arts-faces-uncertain-future/article_54806a0a-9288-11ef-aec0-770b146e5db9.html\">$20 million deficit\u003c/a>, the new buildings are an impressive network of studios and classrooms, with the Wattis overlooking rooftop gardens and an amphitheater.\u003c/p>\n\u003cp>The Wattis is also under new leadership, with longtime director Anthony Huberman passing the torch to \u003ca href=\"https://www.kqed.org/arts/13953171/daisy-nam-wattis-institute-cca\">Daisy Nam\u003c/a>, who comes to San Francisco by way of Ballroom Marfa and Harvard’s Carpenter Center.\u003c/p>\n\u003cfigure id=\"attachment_13968082\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg\" alt=\"gallery with wall installation, framed photographs and a floor piece\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘All This Soft Wild Buzzing,’ 2024. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what better way is there to inaugurate the Wattis Institute’s new home than with an exhibition tapping artists with Bay Area ties whose work examines the concept of place?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://wattis.org/our-program/on-view/all-this-soft-wild-buzzing\">All This Soft Wild Buzzing\u003c/a>\u003c/i>, curated by Deputy Director and Director of Programs Jeanne Gerrity, features artists re-evaluating and re-mixing the legacy of landscape art. With particular attention to the American West, the show confronts and counters historical associations with Manifest Destiny that once undergirded the colonial framework of the landscape genre. \u003c/p>\n\u003cp>The group show features nine artists, including CCA alumni Saif Azzuz, Teresa Baker, Christopher Robin Duncan, Bessma Khalaf and \u003ca href=\"https://www.kqed.org/arts/13960861/dionne-lee-currents-cushion-works-review\">Dionne Lee\u003c/a>, alongside \u003ca href=\"https://www.kqed.org/arts/13963960/nicki-green-firmament-contemporary-jewish-museum-review\">Nicki Green\u003c/a>, Young Suh, Stephanie Syjuco and \u003ca href=\"https://www.kqed.org/arts/13961907/moad-zekarias-musele-thomspson-the-meeting-place-review\">Zekarias Musele Thompson\u003c/a>, working across disciplines that include sculpture, painting, installation and video.\u003c/p>\n\u003cfigure id=\"attachment_13968080\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000.jpg\" alt=\"two framed black-and-white photographs of landscapes with burned elements\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bessma Khalaf, ‘Burnout (Mt Shasta),’ 2023 and ‘Burnout (Redwoods),’ 2022. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True to Gerrity’s vision, each artist takes a different, unorthodox approach to landscape art. You won’t see pastoral paintings or panoramic photographs here. Instead, it all feels more hands-on: not exalting the sublime from a reverent, if safe, distance but instead wading in up to the neck and getting hands dirty. These artists are exploring nature with a sensibility that foregrounds collaboration and reciprocity.\u003c/p>\n\u003cp>Khalaf’s are some of the most traditional landscapes in the show — at least at a glance, they appear to be. The black-and-white photographs are actually pictures of pictures sourced from magazines and books, which Khalaf photographs after partially burning them. Similarly, Suh’s color photos of the mechanizations of environmental disaster might qualify as agrarian landscapes — if it weren’t for the figures of firefighters trawling like ants across the scorched earth. Both artists play in the space between beauty and destruction, between nature’s course and the human intervention that both interrupts and accelerates it.\u003c/p>\n\u003cp>Lee, who recently exhibited in the Whitney Biennial, contributes a multichannel video installation of footage shot in and about the American Southwest. Grayscale landscapes are spliced with fragments of Bureau of Land Management signage at the entrance to national parks admonishing viewers to “Notice: You are on federal lands,” while Lee reads excerpts from “\u003ca href=\"https://granta.com/observations-on-the-ground/\">Observations on the Ground\u003c/a>” by Mary Ruefle. Here, nature is all cerebral experience: a navigation not of the land itself but the human impositions that govern it.\u003c/p>\n\u003cfigure id=\"attachment_13968081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000.jpg\" alt=\"printed curtains with landscape images hung outside low-slung builidng\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco, ‘Double Vision (Projection),’ 2022–24. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of the artist and Catherine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a more direct engagement with nature, Duncan employed a photogram process to treat fabric he then exposed to sunlight on the rooftop of the old Wattis location. The finished piece acts as both a collaboration with nature and a relic of the venue’s history of place. Syjuco, in turn, has used fabric to activate the new gallery, draping curtains across the exterior that feature reinterpretations of American landscape painter Albert Bierstadt’s 19th-nineteenth century lithograph prints.\u003c/p>\n\u003cp>Similar outdoor activations will be a mainstay of future exhibitions, as well as special commissions that take advantage of the Wattis’ proximity to CCA’s fabrication studios. And while the new location certainly opens the doors for certain possibilities, it also closes doors to others. Because while \u003ci>All This Soft Wild Buzzing\u003c/i> explores the expanse of nature, spilling into the school’s outdoor spaces, that sprawl feels out of necessity rather than curatorial panache.\u003c/p>\n\u003cp>The old Wattis boasted a larger square footage, much higher ceilings and an open floor plan that could accommodate a variety of curatorial visions. It was expansive, pregnant with possibility. There’s something about the Wattis’ new home that feels limiting. \u003c/p>\n\u003cfigure id=\"attachment_13968087\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg\" alt=\"dark gallery with large projection across hanging screen, mushroom-like ceramics on pedestals\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968087\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘All This Soft Wild Buzzing’ with work by Dionne Lee and Nicki Green. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe it’s the separation of the space’s two discrete galleries by the narrow hallway accommodating an elevator shaft. Maybe it’s the fact that three of the gallery’s walls are made of glass, restricting the ability to display wall-hanging artworks. Maybe it’s the on-campus nature itself that feels claustrophobic (though there is potential for commingling between the student body and the larger Bay Area art scene).\u003c/p>\n\u003cp>While the Wattis’ inaugural show feels like a celebration of Bay Area art and landscape, unified by a strong curatorial vision, I keep thinking how it could have been better served in the old space, with more room to unfold both in situ and within the community. The old Wattis had a decade to explore the space it occupied. It remains to be seen how the Wattis team plays within, and expands beyond, its current confines.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://wattis.org/our-program/on-view/all-this-soft-wild-buzzing\">All This Soft Wild Buzzing\u003c/a>’ is on view at the Wattis Institute (145 Hooper St., San Francisco), through Dec. 14, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ah, the Christmas movie. That old chestnut. That cozy perennial pastime where — let’s just pick one scene from \u003cem>Red One\u003c/em> — Dwayne Johnson, playing Santa’s body guard, faces off with a witch-possessed mercenary (Nick Kroll) and ice-sword-wielding CGI snowmen on the sandy beaches of Aruba. Can’t you just taste the eggnog?\u003c/p>\n\u003cp>Such are the ugly-sweater clashes of \u003cem>Red One\u003c/em>, a big-budget gambit to supersize the Christmas movie. Countless movies before have wrestled with who Santa is. Does he really exist? But \u003cem>Red One\u003c/em> is the first one to answer doubters with a superhero-like St. Nick who runs his North Pole operation like the army, who bench presses and counts carbs and who, given that he’s played by J.K. Simmons, looks like he could teach one heck of a jazz class.\u003c/p>\n\u003cp>[aside postid='arts_13967953']There is ample time during \u003cem>Red One\u003c/em>, which opens in theaters Thursday, to ponder who, exactly, put a Marvel-ized Santa on their wish list. The movie, directed by the \u003cem>Jumanji\u003c/em> reboot filmmaker Jake Kasdan and scripted by the veteran \u003cem>Fast & Furious\u003c/em> screenwriter Chris Morgan, was conceived by producer Hiram Garcia as the start of a holiday franchise for Amazon MGM Studios — presumably to satisfy those who have pined for a Christmas movie but with, you, know, more military industrial complex.\u003c/p>\n\u003cp>\u003cem>Red One\u003c/em>, which is brightened by its other A-list star, Chris Evans, is a little self-aware about its own inherent silliness. But not nearly enough. There is a better, funnier movie underneath all the CGI gloss. But overwhelmed by effects and overelaborate world building (there are trolls, ogres and a headless horsemen here, all loosely connected as mythical creatures), \u003cem>Red One\u003c/em> feels like an unwanted high-priced Christmas present.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U8XH3W0cMss\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love the kids. It’s the grown-ups that are killing me.”\u003c/p>\n\u003cp>So announces Callum Drift (Johnson), a long-serving security operative for Santa. He’s not an elf but a member of ELF, Enforcement Logistics and Fortification. (Don’t you just feel the holiday cheer welling up inside?) But after years, even centuries on the job, Callum’s faith in Christmas traditions is waning. For the first time, those on the naughty list outnumber the nice. On a mall visit two days before Christmas, he looks despondently at adults bickering over presents, if not outright stealing them.\u003c/p>\n\u003cp>Callum and other operatives with earpieces shuttle Santa (\u003cem>Red One\u003c/em> in their secret service-styled lingo) in a fleet of Suburbans to his sleigh, which, while pulled by reindeer, moves more like a spaceship. Back at the North Pole — picture a sort of wintery Abu Dhabi — Santa is kidnapped. The culprits leave only spilt milk behind. The ensuing hunt, overseen by the chief of a special ops group protecting mystical beings (Lucy Liu), leads immediately to a hacker who helped an anonymous client geolocate Santa.\u003c/p>\n\u003cp>[aside postid='arts_13922351']The for-hire hacker, Jack O’Malley (Evans) is a deadbeat dad to his son (Wesley Kimmel), and, we’re informed, a “level-four naughty-lister.” Evans might be most famous for his Captain America, but smarmy smart-aleck (like in \u003cem>Knives Out\u003c/em>) is really his wheelhouse. And he gives \u003cem>Red One\u003c/em> some comic energy as it transitions into a sort of buddy comedy with him and Johnson.\u003c/p>\n\u003cp>But \u003cem>Red One\u003c/em> keeps overdoing it. As they race to rescue Santa before Christmas Eve, the hunt brings in the villainous Christmas Witch, Gryla (Kiernan Shipka) and Krampus (Kristofer Hivju), here defined as Santa’s brother. The sensation, with these characters and others, is of stuffing too much into an already gaudy stocking, and yet somehow forgetting to add any charm.\u003c/p>\n\u003cp>\u003cem>Red One\u003c/em> comes off a little like the holiday version of \u003cem>Cowboys and Aliens\u003c/em> — enough so to make you nostalgic for leaner tales about folkloric figures starring Johnson, like \u003cem>The Tooth Fairy\u003c/em>. But if we’re to have every possible brand of Christmas movie, it seems a shame that when the phrase “The North Pole has been taken!” Gerard Butler is nowhere to be seen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Red One’ is released nationwide on Nov. 15, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, the Christmas movie. That old chestnut. That cozy perennial pastime where — let’s just pick one scene from \u003cem>Red One\u003c/em> — Dwayne Johnson, playing Santa’s body guard, faces off with a witch-possessed mercenary (Nick Kroll) and ice-sword-wielding CGI snowmen on the sandy beaches of Aruba. Can’t you just taste the eggnog?\u003c/p>\n\u003cp>Such are the ugly-sweater clashes of \u003cem>Red One\u003c/em>, a big-budget gambit to supersize the Christmas movie. Countless movies before have wrestled with who Santa is. Does he really exist? But \u003cem>Red One\u003c/em> is the first one to answer doubters with a superhero-like St. Nick who runs his North Pole operation like the army, who bench presses and counts carbs and who, given that he’s played by J.K. Simmons, looks like he could teach one heck of a jazz class.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is ample time during \u003cem>Red One\u003c/em>, which opens in theaters Thursday, to ponder who, exactly, put a Marvel-ized Santa on their wish list. The movie, directed by the \u003cem>Jumanji\u003c/em> reboot filmmaker Jake Kasdan and scripted by the veteran \u003cem>Fast & Furious\u003c/em> screenwriter Chris Morgan, was conceived by producer Hiram Garcia as the start of a holiday franchise for Amazon MGM Studios — presumably to satisfy those who have pined for a Christmas movie but with, you, know, more military industrial complex.\u003c/p>\n\u003cp>\u003cem>Red One\u003c/em>, which is brightened by its other A-list star, Chris Evans, is a little self-aware about its own inherent silliness. But not nearly enough. There is a better, funnier movie underneath all the CGI gloss. But overwhelmed by effects and overelaborate world building (there are trolls, ogres and a headless horsemen here, all loosely connected as mythical creatures), \u003cem>Red One\u003c/em> feels like an unwanted high-priced Christmas present.\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/U8XH3W0cMss'\n title='//www.youtube.com/embed/U8XH3W0cMss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I love the kids. It’s the grown-ups that are killing me.”\u003c/p>\n\u003cp>So announces Callum Drift (Johnson), a long-serving security operative for Santa. He’s not an elf but a member of ELF, Enforcement Logistics and Fortification. (Don’t you just feel the holiday cheer welling up inside?) But after years, even centuries on the job, Callum’s faith in Christmas traditions is waning. For the first time, those on the naughty list outnumber the nice. On a mall visit two days before Christmas, he looks despondently at adults bickering over presents, if not outright stealing them.\u003c/p>\n\u003cp>Callum and other operatives with earpieces shuttle Santa (\u003cem>Red One\u003c/em> in their secret service-styled lingo) in a fleet of Suburbans to his sleigh, which, while pulled by reindeer, moves more like a spaceship. Back at the North Pole — picture a sort of wintery Abu Dhabi — Santa is kidnapped. The culprits leave only spilt milk behind. The ensuing hunt, overseen by the chief of a special ops group protecting mystical beings (Lucy Liu), leads immediately to a hacker who helped an anonymous client geolocate Santa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The for-hire hacker, Jack O’Malley (Evans) is a deadbeat dad to his son (Wesley Kimmel), and, we’re informed, a “level-four naughty-lister.” Evans might be most famous for his Captain America, but smarmy smart-aleck (like in \u003cem>Knives Out\u003c/em>) is really his wheelhouse. And he gives \u003cem>Red One\u003c/em> some comic energy as it transitions into a sort of buddy comedy with him and Johnson.\u003c/p>\n\u003cp>But \u003cem>Red One\u003c/em> keeps overdoing it. As they race to rescue Santa before Christmas Eve, the hunt brings in the villainous Christmas Witch, Gryla (Kiernan Shipka) and Krampus (Kristofer Hivju), here defined as Santa’s brother. The sensation, with these characters and others, is of stuffing too much into an already gaudy stocking, and yet somehow forgetting to add any charm.\u003c/p>\n\u003cp>\u003cem>Red One\u003c/em> comes off a little like the holiday version of \u003cem>Cowboys and Aliens\u003c/em> — enough so to make you nostalgic for leaner tales about folkloric figures starring Johnson, like \u003cem>The Tooth Fairy\u003c/em>. But if we’re to have every possible brand of Christmas movie, it seems a shame that when the phrase “The North Pole has been taken!” Gerard Butler is nowhere to be seen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Red One’ is released nationwide on Nov. 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13967963\" class=\"wp-caption aligncenter\" style=\"max-width: 1322px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe.png\" alt=\"A book cover featuring aviator sunglasses colored like the British Union Jack flag.\" width=\"1322\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe.png 1322w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-800x1210.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1020x1543.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-768x1162.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1015x1536.png 1015w\" sizes=\"(max-width: 1322px) 100vw, 1322px\">\u003cfigcaption class=\"wp-caption-text\">‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts,’ by Jeremy Egner. \u003ccite>(Dutton via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to believe that a TV show based on a series of commercials with the same punchline — an American football coach confused by the rules of soccer — could have lasted beyond an episode or two. It’s even harder to believe that it became an Emmy-winning hit with a cast invited to the White House to talk about mental health.\u003c/p>\n\u003cp>[aside postid='arts_13967856']There’s a lot to learn from the unlikely success of \u003cem>Ted Lasso\u003c/em>, the hit Apple TV+ show featuring Jason Sudekis as its mustachioed, wholesome namesake. Jeremy Egner’s \u003cem>Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts\u003c/em> is the best place to learn it.\u003c/p>\n\u003cp>As television editor for \u003cem>The New York Times\u003c/em>, Egner had a front-row seat to the show and the cultural phenomenon it became. That background offers readers an enlightening and entertaining guide, though it’s definitely geared toward fans of the show.\u003c/p>\n\u003cp>Written half as an oral history and half as a guide to key episodes, \u003cem>Believe\u003c/em> offers plenty of interesting tidbits about the making of the show and provides inspiration for fans to give \u003cem>Ted Lasso\u003c/em> another viewing.\u003c/p>\n\u003cp>Egner leaves no detail uncovered, including the taste of Ted’s famous biscuits (dry, at least in the first season) and arguments over what the \u003cem>Believe\u003c/em> sign hanging in the locker room should look like.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book avoids becoming too laudatory of the show and notes the criticism it faced, especially during the third — and final? — season.\u003c/p>\n\u003cp>[aside postid='arts_13967831']Egner adeptly explains how all the right factors, including an audience overwhelmed by negative news and divisive times, worked together to ensure the show’s success. It’s an audience that was hungry for a show that, as he puts it, is about personal transformation.\u003c/p>\n\u003cp>The book may not necessarily transform anyone into a new fan of \u003cem>Ted Lasso\u003c/em>, but it may at least give those who like the show a reason to give it another watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts’ by Jeremy Egner is out on Nov. 12, 2024, via Dutton. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Egner adeptly explains how all the right factors, including an audience overwhelmed by negative news and divisive times, worked together to ensure the show’s success. It’s an audience that was hungry for a show that, as he puts it, is about personal transformation.\u003c/p>\n\u003cp>The book may not necessarily transform anyone into a new fan of \u003cem>Ted Lasso\u003c/em>, but it may at least give those who like the show a reason to give it another watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts’ by Jeremy Egner is out on Nov. 12, 2024, via Dutton. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Gladiator II,’ With Denzel Washington, Goes Back Into the Arena",
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"content": "\u003cp>Rome teeters on the brink in Ridley Scott’s \u003cem>Gladiator II\u003c/em>. Its fall is said to be imminent. The dream it once symbolized is dead. The once high-minded ideals of the Roman Empire have deteriorated across a venal land now ruled by a pale-faced emperor.\u003c/p>\n\u003cp>[aside postid='arts_13967891']On the throne is Geta (Joseph Quinn), who sits alongside his sniveling brother, Caracalla (Fred Hechinger). The heart of this Rome, of course, is the Coliseum, where throngs cheer for the gladiators who fight and die. There, the ageless Scott remains remarkably at home. The arena, with its eruptions of spectacle and violence, is a stand in for the director’s own vision of the big screen: Go big or go home.\u003c/p>\n\u003cp>This dichotomy — a fallen society and its insatiable need for entertainment — is the clever and not altogether flattering backdrop of the \u003cem>Gladiator\u003c/em> films. Part two, set 20 years after the events of the first movie, brings a new combatant to the Coliseum — a mysterious outsider named Lucius Verus, played by Paul Mescal. And to answer the inevitable question, yes. Yes, I was quite entertained.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ts0N8swyWFI\u003c/p>\n\u003cp>\u003cem>Gladiator II\u003c/em> isn’t quite the prestige film the first one, a best-picture winner, was in 2001. It’s more a swaggering, sword-and-sandal epic that prizes the need to entertain above all else. No one in \u003cem>Gladiator II\u003c/em> understands that more than Denzel Washington. His performance as the Machiavellian power broker Macrinus is a delicious blur of robes and grins — so compellingly over-the-top that he nearly reaches 1990s Al Pacino standards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Inside this Rome are scattered interests in toppling it, including Marcus Acacius, a decorated general who has just returned from a successful campaign taking Numidia in northwest Africa. (That siege makes the movie’s blistering opening, with an armada racing at almost NASCAR speed toward the walled city, with towers on the bows of the boats to scale the parapets.)\u003c/p>\n\u003cp>[aside postid='arts_13967848']Acacius is a loyal Roman but, when he learns that the emperors have only more bloodlust for further territory and more war, he and his wife, Lucilla (Connie Nielsen) begin plotting to overthrow the brothers.\u003c/p>\n\u003cp>In a movie where everyone nurtures some secret, few stay hidden long. Foremost among them is Lucius Verus, a warrior in Numidia who’s taken prisoner and forced to fight as a gladiator. He’s the son of Lucilla and Maximus (Crowe in \u003cem>Gladiator\u003c/em>). Following the events of that film, Lucilla sent him, an heir to the empire, to Numidia to grow up outside of the empire’s power struggles.\u003c/p>\n\u003cp>Mescal, the terrific Irish actor of \u003cem>Aftersun\u003c/em> and \u003cem>All of Us Strangers\u003c/em>, smoothly steps into a blockbuster arena for the first time. “This one is interesting,” says Macrinus, eyeing him for the first time. Mescal’s Lucius is vengeful — the Roman army kills his warrior wife in the Numidia battle. “Rage pours out of you like milk,” Macrinus says, admiringly. The glint of mischief in Mescal’s eyes gives Lucius a little more character than your average revenge-seeking gladiator.\u003c/p>\n\u003cp>We watch as Lucius cunningly survives arena after arena. Meanwhile, Macrinus manipulates him to steer the public’s routing interest away from the emperor. It’s a rich if slightly cartoonish tapestry of palace intrigue, with Macrinus deftly pulling all the strings.\u003c/p>\n\u003cfigure id=\"attachment_13967957\" class=\"wp-caption aligncenter\" style=\"max-width: 1529px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png\" alt=\"A Black man, regally dressed in old Roman attire sits within an elaborate gold balcony.\" width=\"1529\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png 1529w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-800x1046.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1020x1334.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-160x209.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-768x1005.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1174x1536.png 1174w\" sizes=\"(max-width: 1529px) 100vw, 1529px\">\u003cfigcaption class=\"wp-caption-text\">Denzel Washington steals scenes in ‘Gladiator II.’ \u003ccite>(Aidan Monaghan/Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, really, none of the power machinations are as compelling as the increasingly carnivalesque scenes of the Coliseum. In the gladiators’ first trip there, they’re greeted by man-eating monkeys. Next, it’s a rider atop a giant, charging rhinoceros. Then, the piece de resistance: a flooded Coliseum festering with sharks. There are even little mock islands with palm trees spread about.\u003c/p>\n\u003cp>Now, \u003cem>Gladiator II\u003c/em> may not stand up to much inquiry from historians. (Some issues were also taken with Scott’s last historical epic, \u003cem>Napoleon\u003c/em>, which likewise was scripted by David Scarpa). But this is not a movie built for accuracy. It’s made for taking a few bits of history and inflating them into a feast and the charms of watching Washington’s Macrinus brandish a head recently relieved of its body.\u003c/p>\n\u003cp>[aside postid='arts_13967805']Yes, heads do roll in Scott’s \u003cem>Gladiator\u003c/em> sequel. Macrinus succeeds in whipping Rome into a frenzy. In fact, he does it so easily and guilefully that, once things begin unraveling for him, the air leaves \u003cem>Gladiator II\u003c/em>. You don’t quite believe his recklessness after he so patiently and artfully turned the screws.\u003c/p>\n\u003cp>Nevertheless, two possible successors emerge — Lucius, who has a birthright to the throne, and Macrinus, who comes to within its grasp purely by his own wit. Is it any wonder that I was rooting for Macrinus, all the way? How could you not, with Washington chewing scenery like this and making zestful (and rather apt) pronouncements like: “That, my friend, is politics!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gladiator II’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Acacius is a loyal Roman but, when he learns that the emperors have only more bloodlust for further territory and more war, he and his wife, Lucilla (Connie Nielsen) begin plotting to overthrow the brothers.\u003c/p>\n\u003cp>In a movie where everyone nurtures some secret, few stay hidden long. Foremost among them is Lucius Verus, a warrior in Numidia who’s taken prisoner and forced to fight as a gladiator. He’s the son of Lucilla and Maximus (Crowe in \u003cem>Gladiator\u003c/em>). Following the events of that film, Lucilla sent him, an heir to the empire, to Numidia to grow up outside of the empire’s power struggles.\u003c/p>\n\u003cp>Mescal, the terrific Irish actor of \u003cem>Aftersun\u003c/em> and \u003cem>All of Us Strangers\u003c/em>, smoothly steps into a blockbuster arena for the first time. “This one is interesting,” says Macrinus, eyeing him for the first time. Mescal’s Lucius is vengeful — the Roman army kills his warrior wife in the Numidia battle. “Rage pours out of you like milk,” Macrinus says, admiringly. The glint of mischief in Mescal’s eyes gives Lucius a little more character than your average revenge-seeking gladiator.\u003c/p>\n\u003cp>We watch as Lucius cunningly survives arena after arena. Meanwhile, Macrinus manipulates him to steer the public’s routing interest away from the emperor. It’s a rich if slightly cartoonish tapestry of palace intrigue, with Macrinus deftly pulling all the strings.\u003c/p>\n\u003cfigure id=\"attachment_13967957\" class=\"wp-caption aligncenter\" style=\"max-width: 1529px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png\" alt=\"A Black man, regally dressed in old Roman attire sits within an elaborate gold balcony.\" width=\"1529\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png 1529w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-800x1046.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1020x1334.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-160x209.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-768x1005.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1174x1536.png 1174w\" sizes=\"(max-width: 1529px) 100vw, 1529px\">\u003cfigcaption class=\"wp-caption-text\">Denzel Washington steals scenes in ‘Gladiator II.’ \u003ccite>(Aidan Monaghan/Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, really, none of the power machinations are as compelling as the increasingly carnivalesque scenes of the Coliseum. In the gladiators’ first trip there, they’re greeted by man-eating monkeys. Next, it’s a rider atop a giant, charging rhinoceros. Then, the piece de resistance: a flooded Coliseum festering with sharks. There are even little mock islands with palm trees spread about.\u003c/p>\n\u003cp>Now, \u003cem>Gladiator II\u003c/em> may not stand up to much inquiry from historians. (Some issues were also taken with Scott’s last historical epic, \u003cem>Napoleon\u003c/em>, which likewise was scripted by David Scarpa). But this is not a movie built for accuracy. It’s made for taking a few bits of history and inflating them into a feast and the charms of watching Washington’s Macrinus brandish a head recently relieved of its body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yes, heads do roll in Scott’s \u003cem>Gladiator\u003c/em> sequel. Macrinus succeeds in whipping Rome into a frenzy. In fact, he does it so easily and guilefully that, once things begin unraveling for him, the air leaves \u003cem>Gladiator II\u003c/em>. You don’t quite believe his recklessness after he so patiently and artfully turned the screws.\u003c/p>\n\u003cp>Nevertheless, two possible successors emerge — Lucius, who has a birthright to the throne, and Macrinus, who comes to within its grasp purely by his own wit. Is it any wonder that I was rooting for Macrinus, all the way? How could you not, with Washington chewing scenery like this and making zestful (and rather apt) pronouncements like: “That, my friend, is politics!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gladiator II’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Juror #2’ Is a Thorny Legal Thriller — and Possibly Clint Eastwood’s Last Film",
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"content": "\u003cp>Last week, Warner Bros. opened \u003cem>Juror #2 \u003c/em>in limited release, with minimal fanfare, and no plans to report the film’s domestic box office. It’s not the typical treatment for a Clint Eastwood movie, especially one that some think might be the \u003cem>last \u003c/em>Clint Eastwood movie. I hope they’re wrong.\u003c/p>\n\u003cp>Either way, the fact that Eastwood’s longtime studio would bury his latest speaks to the various crises that have befallen the industry in general and Warner Bros. in particular. At 94, Eastwood seems ever more like an anomaly in American filmmaking: a Hollywood legend with nothing left to prove, still cranking out his unfussy, mid-budget dramas for a grown-up audience that the major studios have all but abandoned.\u003c/p>\n\u003cp>[aside postid='arts_13967805']\u003cem>Juror #2\u003c/em> is actually one of his better-directed efforts of late, certainly compared with recent disappointments like \u003cem>Cry Macho\u003c/em> and \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">\u003cem>The Mule\u003c/em>\u003c/a>. There’s a little old-school \u003ca href=\"https://www.kqed.org/arts/13966911/john-grisham-dan-slepian-books-wrongfully-convicted-us-prison-injustice-sing-sing\">John Grisham\u003c/a> in this movie’s legal-thriller DNA, even though it features an original screenplay, by Jonathan Abrams.\u003c/p>\n\u003cp>Nicholas Hoult stars as Justin Kemp, a Georgia-based magazine writer who’s expecting a baby with his wife, played by Zoey Deutch. It’s a high-risk pregnancy, and so the timing isn’t ideal when Justin gets selected as a juror in a major murder trial.\u003c/p>\n\u003cp>The defendant, James Sythe, stands accused of killing his girlfriend, Kendall Carter, after the two had a heated argument in a bar one night. As the facts of the case emerge, Justin, who is recovering from alcoholism, realizes that he was at that same bar on the very night in question — and that he hit something he had assumed was a deer while driving home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Suddenly alarmed that he could be more involved in Kendall’s death than he thought, Justin seeks advice from his AA sponsor, Larry, who also happens to be a lawyer. Larry, played by Kiefer Sutherland, advises Justin to keep quiet, lest he face serious prison time. But Justin, worried that his silence could send an innocent man to prison, tries to plead Sythe’s case during deliberations, which quickly turn contentious.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=viA35xH5KO8\u003c/p>\n\u003cp>There’s a creakiness to the writing here; the bickering sounds forced, and some of the jurors veer toward cultural stereotypes. But others are more sharply drawn: \u003ca href=\"https://www.kqed.org/arts/10144000/bang-the-drum-ever-faster-in-the-different-sports-arena-of-whiplash\">J.K. Simmons\u003c/a> brings his hard-nosed intelligence to the role of one of Justin’s few allies, while Cedric Yarbrough finds the simmering tension in every line as a juror convinced of the defendant’s guilt.\u003c/p>\n\u003cp>It all plays like a barbed riff on \u003cem>12 Angry Men\u003c/em>, where one man seeks to sway his fellow jurors, not to bring about justice so much as assuage his own conscience. But Justin isn’t the only character held up for moral scrutiny. The courtroom’s most compelling figure is the prosecutor, Faith, played with terrific nuance by \u003ca href=\"https://www.kqed.org/arts/13834624/with-cunning-casting-hereditary-dials-up-the-horror\">Toni Collette\u003c/a>. Faith does her job with skill, integrity and a great deal of ambition; she’s running for district attorney, and she knows that securing a conviction could help her chances.\u003c/p>\n\u003cp>[aside postid='arts_13967869']Collette and Hoult played a mother and son in the 2002 comedy \u003cem>About a Boy\u003c/em>. And while the actors don’t share too much screen time in \u003cem>Juror #2\u003c/em>, beyond one doozy of a late scene, it’s still a pleasure to see them reunited more than 20 years later. Hoult is especially strong as a man wrestling quietly with past demons and present dilemmas, and whose response is to rationalize like crazy. After all, maybe Sythe, a man known for his rough past, really did kill his girlfriend. And even if he didn’t, how can Justin turn himself in, just as he and his wife are about to start a family?\u003c/p>\n\u003cp>Eastwood may take his characters to task, but he also sees the bigger picture. He’s long had a skeptical view of institutions and their failings, whether it’s a corrupt police force in \u003ca href=\"https://www.kqed.org/arts/23586/changeling\">\u003cem>Changeling\u003c/em>\u003c/a> or the manipulations of the media in movies like \u003cem>Sully\u003c/em> and \u003cem>Richard Jewell\u003c/em>\u003cem>.\u003c/em> In \u003cem>Juror #2\u003c/em>, he takes measured aim at the American justice system, from the dogged attorneys muddling their way through the evidence to the exhausted jurors who just want to deliver a quick verdict to the procedural fault lines and blind spots that can make the truth seem so elusive.\u003c/p>\n\u003cp>It’s a thorny, thoughtful film, and I wish its own studio had more confidence in it. If Eastwood does make another one, I wouldn’t mind seeing him take on another broken American system rife with cynicism, self-interest and compromise — and that, of course, is Hollywood itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Juror #2’ is out, nationwide, now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, Warner Bros. opened \u003cem>Juror #2 \u003c/em>in limited release, with minimal fanfare, and no plans to report the film’s domestic box office. It’s not the typical treatment for a Clint Eastwood movie, especially one that some think might be the \u003cem>last \u003c/em>Clint Eastwood movie. I hope they’re wrong.\u003c/p>\n\u003cp>Either way, the fact that Eastwood’s longtime studio would bury his latest speaks to the various crises that have befallen the industry in general and Warner Bros. in particular. At 94, Eastwood seems ever more like an anomaly in American filmmaking: a Hollywood legend with nothing left to prove, still cranking out his unfussy, mid-budget dramas for a grown-up audience that the major studios have all but abandoned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Juror #2\u003c/em> is actually one of his better-directed efforts of late, certainly compared with recent disappointments like \u003cem>Cry Macho\u003c/em> and \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">\u003cem>The Mule\u003c/em>\u003c/a>. There’s a little old-school \u003ca href=\"https://www.kqed.org/arts/13966911/john-grisham-dan-slepian-books-wrongfully-convicted-us-prison-injustice-sing-sing\">John Grisham\u003c/a> in this movie’s legal-thriller DNA, even though it features an original screenplay, by Jonathan Abrams.\u003c/p>\n\u003cp>Nicholas Hoult stars as Justin Kemp, a Georgia-based magazine writer who’s expecting a baby with his wife, played by Zoey Deutch. It’s a high-risk pregnancy, and so the timing isn’t ideal when Justin gets selected as a juror in a major murder trial.\u003c/p>\n\u003cp>The defendant, James Sythe, stands accused of killing his girlfriend, Kendall Carter, after the two had a heated argument in a bar one night. As the facts of the case emerge, Justin, who is recovering from alcoholism, realizes that he was at that same bar on the very night in question — and that he hit something he had assumed was a deer while driving home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Suddenly alarmed that he could be more involved in Kendall’s death than he thought, Justin seeks advice from his AA sponsor, Larry, who also happens to be a lawyer. Larry, played by Kiefer Sutherland, advises Justin to keep quiet, lest he face serious prison time. But Justin, worried that his silence could send an innocent man to prison, tries to plead Sythe’s case during deliberations, which quickly turn contentious.\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/viA35xH5KO8'\n title='//www.youtube.com/embed/viA35xH5KO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a creakiness to the writing here; the bickering sounds forced, and some of the jurors veer toward cultural stereotypes. But others are more sharply drawn: \u003ca href=\"https://www.kqed.org/arts/10144000/bang-the-drum-ever-faster-in-the-different-sports-arena-of-whiplash\">J.K. Simmons\u003c/a> brings his hard-nosed intelligence to the role of one of Justin’s few allies, while Cedric Yarbrough finds the simmering tension in every line as a juror convinced of the defendant’s guilt.\u003c/p>\n\u003cp>It all plays like a barbed riff on \u003cem>12 Angry Men\u003c/em>, where one man seeks to sway his fellow jurors, not to bring about justice so much as assuage his own conscience. But Justin isn’t the only character held up for moral scrutiny. The courtroom’s most compelling figure is the prosecutor, Faith, played with terrific nuance by \u003ca href=\"https://www.kqed.org/arts/13834624/with-cunning-casting-hereditary-dials-up-the-horror\">Toni Collette\u003c/a>. Faith does her job with skill, integrity and a great deal of ambition; she’s running for district attorney, and she knows that securing a conviction could help her chances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Collette and Hoult played a mother and son in the 2002 comedy \u003cem>About a Boy\u003c/em>. And while the actors don’t share too much screen time in \u003cem>Juror #2\u003c/em>, beyond one doozy of a late scene, it’s still a pleasure to see them reunited more than 20 years later. Hoult is especially strong as a man wrestling quietly with past demons and present dilemmas, and whose response is to rationalize like crazy. After all, maybe Sythe, a man known for his rough past, really did kill his girlfriend. And even if he didn’t, how can Justin turn himself in, just as he and his wife are about to start a family?\u003c/p>\n\u003cp>Eastwood may take his characters to task, but he also sees the bigger picture. He’s long had a skeptical view of institutions and their failings, whether it’s a corrupt police force in \u003ca href=\"https://www.kqed.org/arts/23586/changeling\">\u003cem>Changeling\u003c/em>\u003c/a> or the manipulations of the media in movies like \u003cem>Sully\u003c/em> and \u003cem>Richard Jewell\u003c/em>\u003cem>.\u003c/em> In \u003cem>Juror #2\u003c/em>, he takes measured aim at the American justice system, from the dogged attorneys muddling their way through the evidence to the exhausted jurors who just want to deliver a quick verdict to the procedural fault lines and blind spots that can make the truth seem so elusive.\u003c/p>\n\u003cp>It’s a thorny, thoughtful film, and I wish its own studio had more confidence in it. If Eastwood does make another one, I wouldn’t mind seeing him take on another broken American system rife with cynicism, self-interest and compromise — and that, of course, is Hollywood itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Juror #2’ is out, nationwide, now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "need-a-break-marvel-at-the-vanishing-treasures-of-the-natural-world",
"title": "Need a Break? Marvel at the ‘Vanishing Treasures’ of the Natural World",
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"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967832\" style=\"font-weight: bold;background-color: transparent;color: #767676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826.jpeg\" alt=\"A teal book cover featuring an image of a wombat.\" width=\"1650\" height=\"2475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826.jpeg 1650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-1365x2048.jpeg 1365w\" sizes=\"auto, (max-width: 1650px) 100vw, 1650px\">\u003c/p>\n\u003cp>‘Vanishing Treasures: A Bestiary of Extraordinary Endangered Creatures’ by Katherine Rundell.If, you, too, have been intensely concentrating on the presidential election, you may be ready for a shift of focus. \u003cem>Vanishing Treasures\u003c/em>, an extraordinary book by Katherine Rundell (originally published under the title \u003cem>The Golden Mole\u003c/em> in the UK) lifts readers out of the here and now and invites us to train our eyes on wider horizons.\u003c/p>\n\u003cp>Rundell is a publishing phenom. Her 2013 middle-grade children’s book \u003cem>Rooftoppers \u003c/em>drew inspiration from her own adventures as an undergraduate at Oxford, where she climbed brick walls and scaled drainpipes to take in the views of that “city of dreaming spires” from on high. More recently, Rundell has written \u003cem>Super-Infinite\u003c/em>, an acclaimed biography of the metaphysical poet John Donne, as well as a bestselling fantasy novel, called \u003cem>Impossible Creatures\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13967439']In short, Rundell is something of a Renaissance woman who writes with the elegance and erudition that distinguished that era. \u003cem>Vanishing Treasures\u003c/em> is a bestiary, a collection of creatures, both odd and mundane — all of whom are more astonishing than you might expect; all of whom, as Rundell tells us are “endangered or [contain] a subspecies that is endangered — because there is almost no creature on the planet, now, for which that is not the case.”\u003c/p>\n\u003cp>Rundell begins her book with an epigraph from an author whose reputation is itself approaching extinction: the British essayist and mystery writer, G.K. Chesterton: “The world will never starve for want of wonders; but only for want of wonder.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What follows are 23 very short essays on creatures ranging from the wombat to the spider; the raccoon to the tuna. For anyone whose capacity for wonder could use a jumpstart, Rundell’s essays are essential reading. Listen, for instance, to these sentences from the opening paragraph of her essay on the swift — a common creature so named because it’s the fastest bird in flight:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>The swift is sky-suited like no other bird. Weighing less than a hen’s egg, with wings like a scythe and a tail like a fork, it eats and sleeps on the wing. … [Swifts] mate in brief mid-sky collisions, the only birds to do so, and to wash they hunt down clouds and fly through gentle rain, slowly, wings outstretched.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>As you can hear, Rundell’s essays are no mere Wikipedia entries about the natural world; rather, they’re deeply-felt, lyrical, often witty, and occasionally grisly evocations of the living marvels she’s surveying. Her essay on “The Hermit Crab,” for instance, begins with a jolt: “It was, perhaps, a hermit crab that ate Amelia Earhart.”\u003c/p>\n\u003cp>Rundell goes on to explain: It seems that the uninhabited island in the Western Pacific where \u003ca href=\"https://www.npr.org/2024/01/29/1227574179/amelia-earharts-lost-plane-howland-island\">Earhart’s plane\u003c/a> may have gone down and where 13 (but, only 13) human bones were discovered that matched Earhart’s size is to this day also “home to a colony of coconut hermit crabs: the world’s largest land crab. … The oldest [crabs] live to more than a hundred, and grow to be up to 40 inches across: too large to fit in a bathtub, exactly the right size for a nightmare.”\u003c/p>\n\u003cp>[aside postid='arts_13967643']The interconnectedness, both savage and beautiful, of the animal and human world is the message thrumming through these essays. Earhart’s possible fate notwithstanding, it’s, of course, nonhuman creatures who suffer most from their contact with us. “The greatest lie that humans ever told is that the Earth is ours, and at our disposal. … We must cease from telling that lie because the world is so rare, and so wildly fine.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Vanishing Treasures\u003c/em> makes readers see, \u003cem>really see\u003c/em>, some of the miraculous creatures we still share this fragile world with. Like any wise environmentalist, Rundell also leavens terror with possibility. I leave you, then, with Rundell’s tribute to the Greenland shark, “the planet’s oldest vertebrate”; an animal who can live over 500 years. Rundell says:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>… I find the very idea of them hopeful. They will see us pass through whichever spinning chaos we may currently be living through, … and they will live through the currently unimagined things that will come after that: the transformations, revelations, the possible liberations. That is their beauty and it’s breathtaking: they go on. These slow, odorous, half-blind creatures are perhaps the closest thing to eternal this planet has to offer.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv>\n\u003chr>\n\u003cp>\u003cem>‘Vanishing Treasures: A Bestiary of Extraordinary Endangered Creatures’ by Katherine Rundell is out on Nov. 12, via Doubleday.\u003c/em>\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What follows are 23 very short essays on creatures ranging from the wombat to the spider; the raccoon to the tuna. For anyone whose capacity for wonder could use a jumpstart, Rundell’s essays are essential reading. Listen, for instance, to these sentences from the opening paragraph of her essay on the swift — a common creature so named because it’s the fastest bird in flight:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>The swift is sky-suited like no other bird. Weighing less than a hen’s egg, with wings like a scythe and a tail like a fork, it eats and sleeps on the wing. … [Swifts] mate in brief mid-sky collisions, the only birds to do so, and to wash they hunt down clouds and fly through gentle rain, slowly, wings outstretched.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>As you can hear, Rundell’s essays are no mere Wikipedia entries about the natural world; rather, they’re deeply-felt, lyrical, often witty, and occasionally grisly evocations of the living marvels she’s surveying. Her essay on “The Hermit Crab,” for instance, begins with a jolt: “It was, perhaps, a hermit crab that ate Amelia Earhart.”\u003c/p>\n\u003cp>Rundell goes on to explain: It seems that the uninhabited island in the Western Pacific where \u003ca href=\"https://www.npr.org/2024/01/29/1227574179/amelia-earharts-lost-plane-howland-island\">Earhart’s plane\u003c/a> may have gone down and where 13 (but, only 13) human bones were discovered that matched Earhart’s size is to this day also “home to a colony of coconut hermit crabs: the world’s largest land crab. … The oldest [crabs] live to more than a hundred, and grow to be up to 40 inches across: too large to fit in a bathtub, exactly the right size for a nightmare.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The interconnectedness, both savage and beautiful, of the animal and human world is the message thrumming through these essays. Earhart’s possible fate notwithstanding, it’s, of course, nonhuman creatures who suffer most from their contact with us. “The greatest lie that humans ever told is that the Earth is ours, and at our disposal. … We must cease from telling that lie because the world is so rare, and so wildly fine.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Vanishing Treasures\u003c/em> makes readers see, \u003cem>really see\u003c/em>, some of the miraculous creatures we still share this fragile world with. Like any wise environmentalist, Rundell also leavens terror with possibility. I leave you, then, with Rundell’s tribute to the Greenland shark, “the planet’s oldest vertebrate”; an animal who can live over 500 years. Rundell says:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>… I find the very idea of them hopeful. They will see us pass through whichever spinning chaos we may currently be living through, … and they will live through the currently unimagined things that will come after that: the transformations, revelations, the possible liberations. That is their beauty and it’s breathtaking: they go on. These slow, odorous, half-blind creatures are perhaps the closest thing to eternal this planet has to offer.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv>\n\u003chr>\n\u003cp>\u003cem>‘Vanishing Treasures: A Bestiary of Extraordinary Endangered Creatures’ by Katherine Rundell is out on Nov. 12, via Doubleday.\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson’s \u003cem>The Piano Lesson\u003c/em>. Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington’s footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.\u003c/p>\n\u003cp>[aside postid='arts_13967522']Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it’s second nature, it would be hard, one imagines, to go wrong. Jackson’s own history with the play goes back to its original run in 1987 when he was Boy Willie.\u003c/p>\n\u003cp>It’s not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with \u003cem>Mudbound\u003c/em> screenwriter Virgil Williams, goes beyond Wilson’s text and shows us the past and the origins of the intricately engraved piano that’s central to all the fuss.\u003c/p>\n\u003cp>The film even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family’s home. Another fleshes out Doaker’s monologue in which he explains to the uninitiated, Fisher’s Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes narration shine as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cZwjt0pjt8w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilson purists will certainly have opinions on these artistic choices; But they let the film breathe a bit, offering some respite from the living room with the looming piano. And most of the film stays right there, in 1936. Boy Willie and Lymon descend early one morning, uninvited, on the Pittsburgh home of Berniece and her uncle Doaker.\u003c/p>\n\u003cp>It’s a family reunion with an agenda: They’ve driven a truck full of watermelons up north from Mississippi, and Willie, Berniece’s younger brother, wants to sell the watermelons and then the piano. The dusty old instrument represents to him a chance to let the past go and start a future. With the money, he wants to buy the land that his enslaved ancestors worked. Berniece has other ideas about the piano, namely keeping it. It’s a connection to the past, not an anchor. Besides, it might be haunted.\u003c/p>\n\u003cp>[aside postid='arts_13967549']Yes, \u003cem>The Piano Lesson\u003c/em>, in theaters Friday and streaming on Netflix on Nov. 22, isn’t just a meditation on family history. It’s also a literal ghost story, with creaks, spooks and shadows lurking when the piano is disturbed. Deadwyler is electric as Berniece, who bears the brunt of the haunting, walking on eggshells in her life, trying to care for her young daughter and fend off passes from men who assume she can only be fulfilled with one at her side. Now she must deal with her somewhat manic brother who might, Doaker wisely reminds, actually, annoyingly, have a point. Perhaps the film academy will make up for their snub of her performance in \u003cem>Till\u003c/em> with this turn.\u003c/p>\n\u003cp>Regardless of your familiarity with Wilson’s Pittsburgh Cycle, \u003cem>The Piano Lesson\u003c/em> is a worthwhile, captivating and moving watch full of charismatic performers. Talent isn’t always genetic, but the Washington family is putting in the work to prove otherwise. And with \u003cem>Fences\u003c/em>, \u003cem>Ma Rainey’s Black Bottom\u003c/em> and now \u003cem>The Piano Lesson\u003c/em>, they’re making a mark with a bold and ambitious project that is probably long overdue. Only seven more to go.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Piano Lesson’ is out nationwide on Nov. 8, 2024 and begins streaming on Netflix on Nov. 22.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yes, \u003cem>The Piano Lesson\u003c/em>, in theaters Friday and streaming on Netflix on Nov. 22, isn’t just a meditation on family history. It’s also a literal ghost story, with creaks, spooks and shadows lurking when the piano is disturbed. Deadwyler is electric as Berniece, who bears the brunt of the haunting, walking on eggshells in her life, trying to care for her young daughter and fend off passes from men who assume she can only be fulfilled with one at her side. Now she must deal with her somewhat manic brother who might, Doaker wisely reminds, actually, annoyingly, have a point. Perhaps the film academy will make up for their snub of her performance in \u003cem>Till\u003c/em> with this turn.\u003c/p>\n\u003cp>Regardless of your familiarity with Wilson’s Pittsburgh Cycle, \u003cem>The Piano Lesson\u003c/em> is a worthwhile, captivating and moving watch full of charismatic performers. Talent isn’t always genetic, but the Washington family is putting in the work to prove otherwise. And with \u003cem>Fences\u003c/em>, \u003cem>Ma Rainey’s Black Bottom\u003c/em> and now \u003cem>The Piano Lesson\u003c/em>, they’re making a mark with a bold and ambitious project that is probably long overdue. Only seven more to go.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Piano Lesson’ is out nationwide on Nov. 8, 2024 and begins streaming on Netflix on Nov. 22.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Name of This Band is R.E.M.’ Is a Vivid Journey Through the Band’s History",
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"content": "\u003cfigure id=\"attachment_13967787\" class=\"wp-caption aligncenter\" style=\"max-width: 1395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png\" alt=\"An orange book cover featuring a black and white image of a band.\" width=\"1395\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png 1395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-800x1147.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1020x1462.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-768x1101.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1071x1536.png 1071w\" sizes=\"auto, (max-width: 1395px) 100vw, 1395px\">\u003cfigcaption class=\"wp-caption-text\">‘The Name of This Band Is R.E.M.: A Biography’ by Peter Ames Carlin. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The best way to read \u003cem>The Name of This Band is R.E.M.\u003c/em> is with a pair of headphones and a collection of the band’s albums on streaming services or CDs. Opt for the cassettes or vinyl if you want to go old school.\u003c/p>\n\u003cp>Peter Ames Carlin’s book isn’t just a cultural biography of the band going back to its formation in the-then sleepy college town of Athens, Georgia. It’s also a poetic meditation on what made so many of the band’s songs stand out, and continue to shine.\u003c/p>\n\u003cp>[aside postid='arts_13967509']“It was a new kind of post-punk, alternative music that straddled obscurity and directness, dissent and delicacy, unapologetic and unashamed pure pop,” he writes about the reaction to the band’s music in the early 1980s.\u003c/p>\n\u003cp>Carlin’s book offers plenty of behind the scenes details and trivia about R.E.M.’s rise. Fans will enjoy reading about how record executives were wary of making “Losing My Religion,” the band’s iconic hit, the first single from its album \u003cem>Out of Time\u003c/em>.\u003c/p>\n\u003cp>It’s also a fascinating history of a different era in music before social media created viral stars, when bands like R.E.M. rose up through college radio. The early sections of the book offer a vivid description of the music scene in Athens and the band’s beginning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book also explores the band’s political activism, including their work on environmental causes and promotion of the Rock the Vote campaign.\u003c/p>\n\u003cp>The band members didn’t agree to interviews for Carlin’s book, and that’s one of the few weaknesses of what is an otherwise well-researched history. Anyone hoping to discover major new revelations about the band and its members will likely be disappointed, but Carlin ably demonstrates the impact R.E.M.’s music has had and why its history is worth revisiting.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Name of This Band is R.E.M.’ is out now, via Doubleday.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13967787\" class=\"wp-caption aligncenter\" style=\"max-width: 1395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png\" alt=\"An orange book cover featuring a black and white image of a band.\" width=\"1395\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png 1395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-800x1147.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1020x1462.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-768x1101.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1071x1536.png 1071w\" sizes=\"auto, (max-width: 1395px) 100vw, 1395px\">\u003cfigcaption class=\"wp-caption-text\">‘The Name of This Band Is R.E.M.: A Biography’ by Peter Ames Carlin. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The best way to read \u003cem>The Name of This Band is R.E.M.\u003c/em> is with a pair of headphones and a collection of the band’s albums on streaming services or CDs. Opt for the cassettes or vinyl if you want to go old school.\u003c/p>\n\u003cp>Peter Ames Carlin’s book isn’t just a cultural biography of the band going back to its formation in the-then sleepy college town of Athens, Georgia. It’s also a poetic meditation on what made so many of the band’s songs stand out, and continue to shine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book also explores the band’s political activism, including their work on environmental causes and promotion of the Rock the Vote campaign.\u003c/p>\n\u003cp>The band members didn’t agree to interviews for Carlin’s book, and that’s one of the few weaknesses of what is an otherwise well-researched history. Anyone hoping to discover major new revelations about the band and its members will likely be disappointed, but Carlin ably demonstrates the impact R.E.M.’s music has had and why its history is worth revisiting.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Name of This Band is R.E.M.’ is out now, via Doubleday.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "personal-space-slipper-vallejo-review",
"title": "A Vallejo Gallery Hosts a Slippery Show of Thrilling Distortions",
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"content": "\u003cp>Despite appearing like a fairly straightforward Vallejo storefront, a few clues hint at Personal Space’s mutability. There’s even a “sign,” if you could call it that, mounted to the edge of the building. For the duration \u003ci>\u003ca href=\"https://personalspace.space/exhibitions/slipper-september-22-november-10-2024\">Slipper\u003c/a>\u003c/i>, it’s a halftone-dotted black-and-white image of something involving a hand.\u003c/p>\n\u003cp>[aside postID='arts_13933701']Distortion is a perfect visual announcement for the current show, curated by the art space’s founder and director, Lisa Rybovich Crallé. Since Personal Space \u003ca href=\"https://www.kqed.org/arts/13933701/personal-space-vallejo-gallery\">opened in July 2023\u003c/a>, Crallé and guest curators have organized eight group shows, bringing together local, national and international artists, commissioning writing and editions, and hosting some of the best-attended openings in recent Bay Area history.\u003c/p>\n\u003cp>If these presentations have shared a hallmark, it’s an embrace of texture and material experimentation. Any given exhibition might contain paintings, yes, but there’s also a possibility of objects cast in oozy resin hanging on the gallery walls. The most recognizable objects in \u003ci>Slipper\u003c/i> are a pair of framed drawings, but what they depict … well, that’s up for interpretation.\u003c/p>\n\u003cfigure id=\"attachment_13967735\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kcholnoky041a.jpg\" alt=\"horizontal sculpture with wire painted red, small felt images inside spine-like shape\" width=\"1440\" height=\"918\" class=\"size-full wp-image-13967735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kcholnoky041a.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kcholnoky041a-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kcholnoky041a-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kcholnoky041a-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kcholnoky041a-768x490.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kari Cholnoky, ‘Screaming Mimi,’ 2023; Acrylic, collage, wire, paper pulp. \u003ccite>(Courtesy of Nicelle Beauchene Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a show about slipperiness, a certain amount of horizontality is expected. Suitably, \u003ca href=\"https://www.erikfrydenborg.com/\">Erik Frydenborg\u003c/a>’s \u003ci>Nonnnecenonnn\u003c/i>, the first piece to greet visitors’ eyes, is a stretched-out sculpture of basswood, acrylic and sand. Curves and painted hatch marks hint at Frydenborg’s source material, an archive of infographics and diagrams from a bygone era. What at first glance looks like digital skew is, up close, delightfully tangible, with a rough texture running down the sculpture’s black-painted sides.\u003c/p>\n\u003cp>The horizon line continues with \u003ca href=\"https://elinavainio.com/\">Elina Vainio\u003c/a>’s \u003ci>And stones only breathe once\u003c/i>, a flat oblong of sand on the gallery’s floor that contains delicate lines of weighted cord camouflaged within it. From the corner through Frydenborg’s piece, a clear line of sight to \u003ca href=\"https://nicellebeauchene.com/artists/kari-cholnoky/\">Kari Cholnoky\u003c/a>’s wall-mounted paper-pulp sculptures: spiky objects made ominous by fluorescent red paint and the attachment of tiny, menacing images.\u003c/p>\n\u003cfigure id=\"attachment_13967783\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000.jpg\" alt=\"three carved stone ears with long lobes on white shelf\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13967783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Catalina Ouyang’s ‘Arhat Ear’ series, all 2023; made from limestone and soapstone. \u003ccite>(Photo by Bessma Khalaf and Ginger Fierstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we encounter indecipherable things, or, as \u003ci>Slipper\u003c/i> artist \u003ca href=\"https://www.contemporaryartdaily.com/project/albert-herter-at-koenig-clinton-new-york-10476\">Albert Herter\u003c/a> puts it, objects “that cannot be fully accounted for,” multiple pathways emerge. We can cocoon ourselves against intrusion, which \u003ca href=\"https://ghebaly.com/artists/jacqueline-kiyomi-gork/\">Jacqueline Kiyomi Gork\u003c/a>’s \u003ci>Sound Blanket No. 10\u003c/i> (psychically) welcomes us to do. The massive “fur” coat, made of hand-felted wool and human and synthetic hair, is a looming note of verticality in this very horizontal front room.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We can strain for comprehension, suggested by \u003ca href=\"https://catalinaouyang.com/\">Catalina Ouyang\u003c/a>’s trio of elegantly carved stone ears. Or, a third option: lean into the dissonance and chaos, captured by Herter’s William T. Wiley-esque drawings of two figures pontificating in a frenetic landscape.\u003c/p>\n\u003cfigure id=\"attachment_13967737\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1.jpeg\" alt=\"grayscale drawing on paper of two figures\" width=\"2500\" height=\"2000\" class=\"size-full wp-image-13967737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1.jpeg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-768x614.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-2048x1638.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-1920x1536.jpeg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Albert Herter, ‘Instauration #6,’ 2015; Ink on paper. \u003ccite>(Courtesy of Personal Space)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sitting with the weirdness is the modus operandi of the exhibition’s second room, a smaller presentation of work by sculptor and video artist \u003ca href=\"https://davidbayus.zone/\">David Bayus\u003c/a>, ceramic installations by \u003ca href=\"https://dongxixi.art/\">Ximaps Dong\u003c/a> and a second photographic print from \u003ca href=\"https://www.instagram.com/quelquefoisphoto/?hl=en\">Lemia Monet Bodden\u003c/a>, also responsible for the exterior “sign.”\u003c/p>\n\u003cp>In a mix of live action and computer generated imagery, Bayus’ \u003ci>Sessions 1 & 2\u003c/i> begins with a robotic voice asking a pair of filthy arms, “Tell me, why did you create this? What does it mean to you?” A 27-minute video spins out from there, full of meticulously rendered machinery, unsettling sound bites, cowboy iconography and the artist posed as a grimy caveman, subject to an unknown scientific experiment.\u003c/p>\n\u003cfigure id=\"attachment_13967734\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1.png\" alt=\"man with beard covered in dark substance sits at table with abstract sculptures in dishes, pointing hand emerges from left\" width=\"2500\" height=\"1593\" class=\"size-full wp-image-13967734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1.png 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-2048x1305.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-1920x1223.png 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">A still from David Bayus’ video ‘Sessions 1 & 2,’ 2016-17; 27:35 minutes. \u003ccite>(Courtesy of Personal Space)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dong’s combination of ceramics, green plastic netting and steel bars fit right alongside this fleshy yet machine vision of the future. Despite its cheerful title, \u003ci>Caught The Catches, Yay\u003c/i> looks like something straight out of David Cronengberg’s \u003ci>eXistenZ\u003c/i> (a horror film that features a mutant fish farm and plenty of bony gristle).\u003c/p>\n\u003cp>In a moment of mass uncertainty (I write this on Nov. 5, as Americans cast their ballots), \u003ci>Slipper\u003c/i> reminds us that uncertainty is now a constant state. The artworks included may have achieved a relatively fixed form, but they are momentary pauses in a chain of events: captured distortions that produce a rippling effect, a frisson, on their subsequent audiences. When everything is slippery and everything is mutable (including, unfortunately, facts), some combination of cocooning, hard listening and sitting with the disquiet will be the only way through.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Slipper’ is on view at \u003ca href=\"https://personalspace.space/\">Personal Space\u003c/a> (1505 Tennessee St., Vallejo) through Nov. 24, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite appearing like a fairly straightforward Vallejo storefront, a few clues hint at Personal Space’s mutability. There’s even a “sign,” if you could call it that, mounted to the edge of the building. For the duration \u003ci>\u003ca href=\"https://personalspace.space/exhibitions/slipper-september-22-november-10-2024\">Slipper\u003c/a>\u003c/i>, it’s a halftone-dotted black-and-white image of something involving a hand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Distortion is a perfect visual announcement for the current show, curated by the art space’s founder and director, Lisa Rybovich Crallé. Since Personal Space \u003ca href=\"https://www.kqed.org/arts/13933701/personal-space-vallejo-gallery\">opened in July 2023\u003c/a>, Crallé and guest curators have organized eight group shows, bringing together local, national and international artists, commissioning writing and editions, and hosting some of the best-attended openings in recent Bay Area history.\u003c/p>\n\u003cp>If these presentations have shared a hallmark, it’s an embrace of texture and material experimentation. Any given exhibition might contain paintings, yes, but there’s also a possibility of objects cast in oozy resin hanging on the gallery walls. The most recognizable objects in \u003ci>Slipper\u003c/i> are a pair of framed drawings, but what they depict … well, that’s up for interpretation.\u003c/p>\n\u003cfigure id=\"attachment_13967735\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kcholnoky041a.jpg\" alt=\"horizontal sculpture with wire painted red, small felt images inside spine-like shape\" width=\"1440\" height=\"918\" class=\"size-full wp-image-13967735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kcholnoky041a.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kcholnoky041a-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kcholnoky041a-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kcholnoky041a-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kcholnoky041a-768x490.jpg 768w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">Kari Cholnoky, ‘Screaming Mimi,’ 2023; Acrylic, collage, wire, paper pulp. \u003ccite>(Courtesy of Nicelle Beauchene Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a show about slipperiness, a certain amount of horizontality is expected. Suitably, \u003ca href=\"https://www.erikfrydenborg.com/\">Erik Frydenborg\u003c/a>’s \u003ci>Nonnnecenonnn\u003c/i>, the first piece to greet visitors’ eyes, is a stretched-out sculpture of basswood, acrylic and sand. Curves and painted hatch marks hint at Frydenborg’s source material, an archive of infographics and diagrams from a bygone era. What at first glance looks like digital skew is, up close, delightfully tangible, with a rough texture running down the sculpture’s black-painted sides.\u003c/p>\n\u003cp>The horizon line continues with \u003ca href=\"https://elinavainio.com/\">Elina Vainio\u003c/a>’s \u003ci>And stones only breathe once\u003c/i>, a flat oblong of sand on the gallery’s floor that contains delicate lines of weighted cord camouflaged within it. From the corner through Frydenborg’s piece, a clear line of sight to \u003ca href=\"https://nicellebeauchene.com/artists/kari-cholnoky/\">Kari Cholnoky\u003c/a>’s wall-mounted paper-pulp sculptures: spiky objects made ominous by fluorescent red paint and the attachment of tiny, menacing images.\u003c/p>\n\u003cfigure id=\"attachment_13967783\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000.jpg\" alt=\"three carved stone ears with long lobes on white shelf\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13967783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GR7A0444_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Catalina Ouyang’s ‘Arhat Ear’ series, all 2023; made from limestone and soapstone. \u003ccite>(Photo by Bessma Khalaf and Ginger Fierstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When we encounter indecipherable things, or, as \u003ci>Slipper\u003c/i> artist \u003ca href=\"https://www.contemporaryartdaily.com/project/albert-herter-at-koenig-clinton-new-york-10476\">Albert Herter\u003c/a> puts it, objects “that cannot be fully accounted for,” multiple pathways emerge. We can cocoon ourselves against intrusion, which \u003ca href=\"https://ghebaly.com/artists/jacqueline-kiyomi-gork/\">Jacqueline Kiyomi Gork\u003c/a>’s \u003ci>Sound Blanket No. 10\u003c/i> (psychically) welcomes us to do. The massive “fur” coat, made of hand-felted wool and human and synthetic hair, is a looming note of verticality in this very horizontal front room.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We can strain for comprehension, suggested by \u003ca href=\"https://catalinaouyang.com/\">Catalina Ouyang\u003c/a>’s trio of elegantly carved stone ears. Or, a third option: lean into the dissonance and chaos, captured by Herter’s William T. Wiley-esque drawings of two figures pontificating in a frenetic landscape.\u003c/p>\n\u003cfigure id=\"attachment_13967737\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1.jpeg\" alt=\"grayscale drawing on paper of two figures\" width=\"2500\" height=\"2000\" class=\"size-full wp-image-13967737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1.jpeg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-800x640.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-1020x816.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-768x614.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-1536x1229.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-2048x1638.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/PersonalSpace_ArtFairSF_April24_30copy-1-1920x1536.jpeg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Albert Herter, ‘Instauration #6,’ 2015; Ink on paper. \u003ccite>(Courtesy of Personal Space)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sitting with the weirdness is the modus operandi of the exhibition’s second room, a smaller presentation of work by sculptor and video artist \u003ca href=\"https://davidbayus.zone/\">David Bayus\u003c/a>, ceramic installations by \u003ca href=\"https://dongxixi.art/\">Ximaps Dong\u003c/a> and a second photographic print from \u003ca href=\"https://www.instagram.com/quelquefoisphoto/?hl=en\">Lemia Monet Bodden\u003c/a>, also responsible for the exterior “sign.”\u003c/p>\n\u003cp>In a mix of live action and computer generated imagery, Bayus’ \u003ci>Sessions 1 & 2\u003c/i> begins with a robotic voice asking a pair of filthy arms, “Tell me, why did you create this? What does it mean to you?” A 27-minute video spins out from there, full of meticulously rendered machinery, unsettling sound bites, cowboy iconography and the artist posed as a grimy caveman, subject to an unknown scientific experiment.\u003c/p>\n\u003cfigure id=\"attachment_13967734\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1.png\" alt=\"man with beard covered in dark substance sits at table with abstract sculptures in dishes, pointing hand emerges from left\" width=\"2500\" height=\"1593\" class=\"size-full wp-image-13967734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1.png 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-2048x1305.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/DavidBayus-1-1920x1223.png 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">A still from David Bayus’ video ‘Sessions 1 & 2,’ 2016-17; 27:35 minutes. \u003ccite>(Courtesy of Personal Space)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dong’s combination of ceramics, green plastic netting and steel bars fit right alongside this fleshy yet machine vision of the future. Despite its cheerful title, \u003ci>Caught The Catches, Yay\u003c/i> looks like something straight out of David Cronengberg’s \u003ci>eXistenZ\u003c/i> (a horror film that features a mutant fish farm and plenty of bony gristle).\u003c/p>\n\u003cp>In a moment of mass uncertainty (I write this on Nov. 5, as Americans cast their ballots), \u003ci>Slipper\u003c/i> reminds us that uncertainty is now a constant state. The artworks included may have achieved a relatively fixed form, but they are momentary pauses in a chain of events: captured distortions that produce a rippling effect, a frisson, on their subsequent audiences. When everything is slippery and everything is mutable (including, unfortunately, facts), some combination of cocooning, hard listening and sitting with the disquiet will be the only way through.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Slipper’ is on view at \u003ca href=\"https://personalspace.space/\">Personal Space\u003c/a> (1505 Tennessee St., Vallejo) through Nov. 24, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13967647\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken.png\" alt=\"A book cover featuring an illustration of a chicken.\" width=\"1436\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken.png 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-800x1114.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-1020x1421.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-160x223.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-768x1070.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-1103x1536.png 1103w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">‘What the Chicken Knows’ by Sy Montgomery. \u003ccite>(Atria Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three clucks to Sy Montgomery, who 14 years after publishing \u003cem>Birdology\u003c/em>, is still finding ways to make money off the charming stories she told in that book about various avian species. \u003cem>What the Chicken Knows\u003c/em>, subtitled \u003cem>A New Appreciation of the World’s Most Familiar Bird\u003c/em> was a chapter in \u003cem>Birdology\u003c/em>, but is being re-released as a mini hardcover.\u003c/p>\n\u003cp>Readers who haven’t read it will be, briefly, captivated. In just 67 pages (16 of which are glossy color photographs) Montgomery introduces us to her “Ladies,” the ever-changing flock of hens she raised on her New Hampshire farm for decades starting in the 1980s. Blending her personal experiences as queen of the coop with everything you’ve ever wanted to know about chicken behavior, it’s a fun and informative way to spend an hour.\u003c/p>\n\u003cp>[aside postid='arts_13966822']Here’s a sampling of what you’ll learn: Chickens outnumber people 4:1, they have more in common, anatomically, with dinosaurs than humans, you can mail order up to 350 different varieties of chicks, and roosters really are much meaner than hens. Montgomery sprinkles in those facts and plenty more as she shares stories about how her chickens behaved over the years and what they taught her about “how rich and varied their lives are, as fraught and joyous and changeable as our own.”\u003c/p>\n\u003cp>Montgomery is wary of anthropomorphizing her feathered friends, so while she names them, she also tells plenty of stories that could be rebranded for a TV show called \u003cem>When Chickens Attack!\u003c/em> The funniest involves her minister, who makes the mistake of running his hand down one of the hens’ backs, a gesture that makes them assume a distinctive mating crouch. Across the yard, Alex “saw a moral travesty, an insult to his roosterhood: the minister was trying to have sex with his hen.” The minister survives the bloody “spurs first” attack to the back of his calves, but learns to tend his own flock.\u003c/p>\n\u003cp>\u003cem>What the Chicken Knows\u003c/em> joins \u003cem>A Hummingbird’s Gift\u003c/em> and \u003cem>The Hawk’s Way\u003c/em> as standalone mini-books pulled from the pages of \u003cem>Birdology\u003c/em>. Each has a new introduction by the author and would make nice stocking stuffers for bird lovers in anyone’s life.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘What the Chicken Knows’ by Sy Montgomery is out on Nov. 5, 2024, via Atria Books.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13967647\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken.png\" alt=\"A book cover featuring an illustration of a chicken.\" width=\"1436\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken.png 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-800x1114.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-1020x1421.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-160x223.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-768x1070.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-1103x1536.png 1103w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">‘What the Chicken Knows’ by Sy Montgomery. \u003ccite>(Atria Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three clucks to Sy Montgomery, who 14 years after publishing \u003cem>Birdology\u003c/em>, is still finding ways to make money off the charming stories she told in that book about various avian species. \u003cem>What the Chicken Knows\u003c/em>, subtitled \u003cem>A New Appreciation of the World’s Most Familiar Bird\u003c/em> was a chapter in \u003cem>Birdology\u003c/em>, but is being re-released as a mini hardcover.\u003c/p>\n\u003cp>Readers who haven’t read it will be, briefly, captivated. In just 67 pages (16 of which are glossy color photographs) Montgomery introduces us to her “Ladies,” the ever-changing flock of hens she raised on her New Hampshire farm for decades starting in the 1980s. Blending her personal experiences as queen of the coop with everything you’ve ever wanted to know about chicken behavior, it’s a fun and informative way to spend an hour.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Here’s a sampling of what you’ll learn: Chickens outnumber people 4:1, they have more in common, anatomically, with dinosaurs than humans, you can mail order up to 350 different varieties of chicks, and roosters really are much meaner than hens. Montgomery sprinkles in those facts and plenty more as she shares stories about how her chickens behaved over the years and what they taught her about “how rich and varied their lives are, as fraught and joyous and changeable as our own.”\u003c/p>\n\u003cp>Montgomery is wary of anthropomorphizing her feathered friends, so while she names them, she also tells plenty of stories that could be rebranded for a TV show called \u003cem>When Chickens Attack!\u003c/em> The funniest involves her minister, who makes the mistake of running his hand down one of the hens’ backs, a gesture that makes them assume a distinctive mating crouch. Across the yard, Alex “saw a moral travesty, an insult to his roosterhood: the minister was trying to have sex with his hen.” The minister survives the bloody “spurs first” attack to the back of his calves, but learns to tend his own flock.\u003c/p>\n\u003cp>\u003cem>What the Chicken Knows\u003c/em> joins \u003cem>A Hummingbird’s Gift\u003c/em> and \u003cem>The Hawk’s Way\u003c/em> as standalone mini-books pulled from the pages of \u003cem>Birdology\u003c/em>. Each has a new introduction by the author and would make nice stocking stuffers for bird lovers in anyone’s life.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘What the Chicken Knows’ by Sy Montgomery is out on Nov. 5, 2024, via Atria Books.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Keri Russell Returns as ‘The Diplomat,’ Which Is Just as Savvy in Season 2",
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"content": "\u003cp>At a time when it seems political rhetoric couldn’t get more bitter or outrageous, it’s easy to see the world’s leaders and the people who support them in the worst possible light.\u003c/p>\n\u003cp>[aside postid='arts_13966481']But Netflix’s \u003cem>The Diplomat\u003c/em> offers a different vision of politics: one where sharp staffers are often the backseat drivers in government, and many of those involved are truly interested in improving lives — even when they do awful things along the way.\u003c/p>\n\u003cp>That’s the universe Netflix’s series thrives in, where \u003cem>The Americans\u003c/em> alum Keri Russell plays a hard-nosed, practical mid-level diplomat suddenly elevated to serve as ambassador to Britain, amid plans to groom her to become America’s next vice president.\u003c/p>\n\u003ch3>Starting season two with a bang\u003c/h3>\n\u003cp>As the show’s second season kicks off, Russell’s Ambassador Kate Wyler is dealing with the aftermath of a cliffhanger that ended the first season. Her husband — former ambassador Hal Wyler — along with her deputy, Stuart Hayford and another aide were caught in the blast of a car bomb while trying to meet with an official from the British government.\u003c/p>\n\u003cp>The official may have had information about who really initiated a deadly attack against a British aircraft carrier from the first season. But instead of learning more, Kate’s husband and two members of her staff were caught in another attack.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While British and American officials scamper to figure out exactly what happened, we see \u003cem>The Diplomat \u003c/em>ride a delicious, compelling line between serving up hefty slices of political drama and revealing the mournful humanity of co-workers trying to recover from a massively traumatic event.\u003c/p>\n\u003cp>Every performance here is golden. Rory Kinnear is particularly excellent as an egotistical blowhard of a British Prime minister, Nicol Trowbridge. Ali Ahn, currently earning raves for her performance as a witch on Disney+’s \u003cem>Agatha All Along\u003c/em>, shines here as CIA station chief Eidra Park — trying to offer savvy, effective support to Kate while not-so-secretly fretting about Kate’s deputy Stuart, with whom she had a relationship.\u003c/p>\n\u003cp>Rufus Sewell is magnetic as Kate’s husband Hal; she suspects he sees her ascension to vice president as his best route back to power, but he insists otherwise, testing their relationship. David Gyasi plays U.K. foreign secretary Austin Dennison as a precise-yet-passionate power player, focused on doing the right thing for Britain, even as he grows closer to Kate and her marriage frays.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J49VymjKJ8w\u003c/p>\n\u003cp>But it’s not until \u003cem>West Wing\u003c/em> alum Allison Janney arrives as current Vice President Grace Penn that we see the show’s drama really come alive. As a brilliant vice president who may be forced to step down because of a financial scandal involving her husband, Penn excels at maneuvering others into doing what she wants while leaving them convinced it was all their idea.\u003c/p>\n\u003cp>Some may have been concerned that Janney is playing a souped-up version of her \u003cem>West Wing \u003c/em>character, White House staffer C.J. Cregg. But ultimately, they don’t have much in common beyond a habit of speaking directly and a predilection for pantsuits.\u003c/p>\n\u003cfigure id=\"attachment_13967597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png\" alt=\"A middle aged woman with a blond bob stands, arms crossed, in front of a stately home. She is wearing a dark red pantsuit.\" width=\"2000\" height=\"1351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1920x1297.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as Vice President Grace Penn. \u003ccite>(Alex Bailey/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A show centered on smart women leading\u003c/h3>\n\u003cp>What both of Janney’s characters do have in common, however, is that they are accomplished, effective women — making a difference in environments where their talents and achievements are often underestimated or overlooked.\u003c/p>\n\u003cp>Indeed, several storylines in \u003cem>The Diplomat \u003c/em>revolve around smart women deftly guiding powerful men into making better decisions than they could manage on their own. These men aren’t complete idiots, but also are not as smart as they believe — especially Trowbridge, a vociferous bully who leans heavily on several sharp-thinking women, including his wife.\u003c/p>\n\u003cp>[aside postid='arts_13965841']In a particularly pointed exchange, as Hal notes all the humiliating reasons why Penn should accept her fate and resign without damaging the president’s agenda, Kate responds with a telling line. “What do you think my husband would do if it was him?” she says to Penn. “Would he quit?”\u003c/p>\n\u003cp>The answer — that Hal naturally assumes the benefits he brings would outweigh any political cost — neatly outlines the specter of sexism which hangs over \u003cem>The Diplomat\u003c/em>. In a world free from that particular “ism,” you get the sense these women would actually occupy the seats of power, instead of acting as backseat drivers for the men who do.\u003c/p>\n\u003ch3>Complicated plots that pay off\u003c/h3>\n\u003cp>Compelling as all of this is, the plot gets even more complicated in the second season, as Kate and her team begin to sort what really happened in both the warship attack and the car bomb. New viewers trying to jump into the series now could be thoroughly confused — best to make sure you know the events of the first season before joining in for the second.\u003c/p>\n\u003cp>But once acclimated, you can sit back and enjoy a story set in a political universe where expertise is valued, competition plays out like a protracted, 3D chess game and several staffers caught in the middle truly believe in the possibility of using their offices to make life better for everyone.\u003c/p>\n\u003cp>Who knew a visceral, fast-paced series about a global political conspiracy could also — thanks to the terrible state of our real-world political clashes — feel like something of a fantasy?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 2 of ‘The Diplomat’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a time when it seems political rhetoric couldn’t get more bitter or outrageous, it’s easy to see the world’s leaders and the people who support them in the worst possible light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Netflix’s \u003cem>The Diplomat\u003c/em> offers a different vision of politics: one where sharp staffers are often the backseat drivers in government, and many of those involved are truly interested in improving lives — even when they do awful things along the way.\u003c/p>\n\u003cp>That’s the universe Netflix’s series thrives in, where \u003cem>The Americans\u003c/em> alum Keri Russell plays a hard-nosed, practical mid-level diplomat suddenly elevated to serve as ambassador to Britain, amid plans to groom her to become America’s next vice president.\u003c/p>\n\u003ch3>Starting season two with a bang\u003c/h3>\n\u003cp>As the show’s second season kicks off, Russell’s Ambassador Kate Wyler is dealing with the aftermath of a cliffhanger that ended the first season. Her husband — former ambassador Hal Wyler — along with her deputy, Stuart Hayford and another aide were caught in the blast of a car bomb while trying to meet with an official from the British government.\u003c/p>\n\u003cp>The official may have had information about who really initiated a deadly attack against a British aircraft carrier from the first season. But instead of learning more, Kate’s husband and two members of her staff were caught in another attack.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While British and American officials scamper to figure out exactly what happened, we see \u003cem>The Diplomat \u003c/em>ride a delicious, compelling line between serving up hefty slices of political drama and revealing the mournful humanity of co-workers trying to recover from a massively traumatic event.\u003c/p>\n\u003cp>Every performance here is golden. Rory Kinnear is particularly excellent as an egotistical blowhard of a British Prime minister, Nicol Trowbridge. Ali Ahn, currently earning raves for her performance as a witch on Disney+’s \u003cem>Agatha All Along\u003c/em>, shines here as CIA station chief Eidra Park — trying to offer savvy, effective support to Kate while not-so-secretly fretting about Kate’s deputy Stuart, with whom she had a relationship.\u003c/p>\n\u003cp>Rufus Sewell is magnetic as Kate’s husband Hal; she suspects he sees her ascension to vice president as his best route back to power, but he insists otherwise, testing their relationship. David Gyasi plays U.K. foreign secretary Austin Dennison as a precise-yet-passionate power player, focused on doing the right thing for Britain, even as he grows closer to Kate and her marriage frays.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J49VymjKJ8w'\n title='//www.youtube.com/embed/J49VymjKJ8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it’s not until \u003cem>West Wing\u003c/em> alum Allison Janney arrives as current Vice President Grace Penn that we see the show’s drama really come alive. As a brilliant vice president who may be forced to step down because of a financial scandal involving her husband, Penn excels at maneuvering others into doing what she wants while leaving them convinced it was all their idea.\u003c/p>\n\u003cp>Some may have been concerned that Janney is playing a souped-up version of her \u003cem>West Wing \u003c/em>character, White House staffer C.J. Cregg. But ultimately, they don’t have much in common beyond a habit of speaking directly and a predilection for pantsuits.\u003c/p>\n\u003cfigure id=\"attachment_13967597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png\" alt=\"A middle aged woman with a blond bob stands, arms crossed, in front of a stately home. She is wearing a dark red pantsuit.\" width=\"2000\" height=\"1351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1920x1297.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as Vice President Grace Penn. \u003ccite>(Alex Bailey/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A show centered on smart women leading\u003c/h3>\n\u003cp>What both of Janney’s characters do have in common, however, is that they are accomplished, effective women — making a difference in environments where their talents and achievements are often underestimated or overlooked.\u003c/p>\n\u003cp>Indeed, several storylines in \u003cem>The Diplomat \u003c/em>revolve around smart women deftly guiding powerful men into making better decisions than they could manage on their own. These men aren’t complete idiots, but also are not as smart as they believe — especially Trowbridge, a vociferous bully who leans heavily on several sharp-thinking women, including his wife.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a particularly pointed exchange, as Hal notes all the humiliating reasons why Penn should accept her fate and resign without damaging the president’s agenda, Kate responds with a telling line. “What do you think my husband would do if it was him?” she says to Penn. “Would he quit?”\u003c/p>\n\u003cp>The answer — that Hal naturally assumes the benefits he brings would outweigh any political cost — neatly outlines the specter of sexism which hangs over \u003cem>The Diplomat\u003c/em>. In a world free from that particular “ism,” you get the sense these women would actually occupy the seats of power, instead of acting as backseat drivers for the men who do.\u003c/p>\n\u003ch3>Complicated plots that pay off\u003c/h3>\n\u003cp>Compelling as all of this is, the plot gets even more complicated in the second season, as Kate and her team begin to sort what really happened in both the warship attack and the car bomb. New viewers trying to jump into the series now could be thoroughly confused — best to make sure you know the events of the first season before joining in for the second.\u003c/p>\n\u003cp>But once acclimated, you can sit back and enjoy a story set in a political universe where expertise is valued, competition plays out like a protracted, 3D chess game and several staffers caught in the middle truly believe in the possibility of using their offices to make life better for everyone.\u003c/p>\n\u003cp>Who knew a visceral, fast-paced series about a global political conspiracy could also — thanks to the terrible state of our real-world political clashes — feel like something of a fantasy?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 2 of ‘The Diplomat’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s part comedy, part tragedy. It’s part road-trip saga, part odd couple-buddy flick, and part Holocaust film. What could possibly have gone wrong?\u003c/p>\n\u003cp>Yup — everything could have gone wrong. So the first miracle about \u003cem>A Real Pain\u003c/em>, writer-director \u003ca href=\"https://www.kqed.org/pop/105694/rediscovering-the-breakfast-club-with-jesse-eisenberg\">Jesse Eisenberg\u003c/a>’s remarkably accomplished film about mismatched cousins on a somber trip through Poland, is how it pulls off the most delicate of balancing acts.\u003c/p>\n\u003cp>That it does so while also asking intriguing questions about the nature of pain — personal vs. universal, historic vs. contemporary — is all the more impressive. So is the fact that it showcases an Oscar-worthy performance.\u003c/p>\n\u003cp>[aside postid='arts_13967482']That stunning performance comes from \u003ca href=\"https://www.kqed.org/arts/13906871/kieran-culkin-is-having-fun-with-succession-and-he-hopes-you-are-too\">Kieran Culkin\u003c/a>, and what’s striking is that it doesn’t overpower the rest of the ensemble. That’s a testament mostly to the careful way Eisenberg, who co-stars in the less flashy role, has constructed and paced his film. And as for Culkin, well, if you needed proof that his searing, Emmy-winning work as tortured live-wire Roman Roy in \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a> wasn’t a fluke, here you have it.\u003c/p>\n\u003cp>The movie, which is only Eisenberg’s second directorial effort, stems from a trip the \u003ca href=\"https://www.kqed.org/arts/34570/social_network_fact_or_fiction_a_tangled_web\">\u003cem>Social Network\u003c/em>\u003c/a> star took some 20 years ago to Poland. There, he found the tiny house his aunt had lived in before the Holocaust uprooted the family. He wondered what his own life would have been like had World War II never happened.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that’s one of the many conversations that David (Eisenberg) and Benji (Culkin) have as they travel through Poland on a mission to visit the house where their grandmother, who has recently died, once lived. (Eisenberg used the exact same house, which tells you just how personal this film was for him.)\u003c/p>\n\u003cp>It’s a poignant but also awkward reunion for the cousins, who were close as youngsters but are on very different paths as 40-something adults. David is the anxiety-ridden but highly functional type that Eisenberg the actor excels at; he works in tech and lives with his wife and young son in Brooklyn. As for Benji, he lives upstate and is largely unmoored, or undeveloped. He’s also a study in contrasts — the type, David notes, who can light up a room when he enters, and then crap on everyone. The death of their grandmother, with whom Benji was close, has taken a toll on his mental health.\u003c/p>\n\u003cp>The cousins first meet up at the airport in New York. Before they even get through security, Benji has terrified David by informing him he’s secured some really good weed for the journey. (Don’t worry, he’s mailed it to the hotel.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b2et8Vpu7Ls\u003c/p>\n\u003cp>In Warsaw, they meet their small tour group and British guide James (Will Sharpe, of \u003cem>The White Lotus\u003c/em>), a scholar of wartime Poland. Fellow travelers include Marsha (Jennifer Grey), a divorcee who’s moved from LA back east and is trying to reconnect with her past; a Midwestern couple (Daniel Oreskes and Liza Sadovy); and Eloge (Kurt Egyiawan), a Rwandan-Canadian convert to Judasim who knows something about genocide.\u003c/p>\n\u003cp>[aside postid='arts_13967410']In short order, Benji both charms and exasperates the group — and this turbulent brand of charisma is Culkin’s specialty.\u003c/p>\n\u003cp>At a war memorial statue, he runs up to strike a playful action pose, embarrassing David. But somehow, the whole group ends up joining Benji in the childlike stunt, and David is left taking photos.\u003c/p>\n\u003cp>Then when the tour boards a train for Lublin, Benji suddenly explodes in anger at the group — how can they be sitting in first-class comfort when 80 years ago, their ancestors were corralled into cattle cars? He disappears to a lower-class car.\u003c/p>\n\u003cp>And at a visit to a wartime tombstone, Benji admonishes the mild-mannered guide, furiously, for focusing on statistics and not letting the group feel the pure emotion of the moment. (He’s not wrong, as the guide will later acknowledge.)\u003c/p>\n\u003cp>Eisenberg has said that when conceiving of his film, he was struck by a Polish ad that promised “Holocaust tours (with lunch.)” All these moments feel quite real; such tours are indeed filled with awkward (and rather inevitable) juxtapositions of modern tourist comforts and historical horrors.\u003c/p>\n\u003cp>Speaking of horrors, by far the most difficult scenes come when the group visits Majdanek, the Nazi camp. There, they walk past unspeakable sights of gas chambers and ovens and piles of abandoned shoes. One might at first gasp that Eisenberg is leading us here at all; wisely, he keeps these moments silent. When Benji breaks down, it’s on the way home — an acknowledgment that such reactions often come later.\u003c/p>\n\u003cp>At the end, with the cousins hugging goodbye uneasily in the same airport where we began, having completed a journey both physical and personal, it’s hard not to think back to the title of the movie. Yes, Benji is “a real pain.” But there are layers of pain at play here.\u003c/p>\n\u003cp>[aside postid='arts_13967293']There is David’s very real pain, an anxiety that forces him to take pills each day. There’s Benji’s pain, which not long ago has sent him into a very dangerous tailspin.\u003c/p>\n\u003cp>But, Eisenberg seems to be asking, how “valid” are these types of pain set against the historic pain that the film explores in Poland — a place where, as his camera shows empty streets where life once teemed, an entire people was erased by the Nazis?\u003c/p>\n\u003cp>It’s quite a journey for one film. All credit to Eisenberg, and his superb co-star, for making the road trip so thought-provoking.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Real Pain’ is released in Bay Area theaters on Nov. 14, 2024.\u003c/em>\u003c/p>\n\n",
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"title": "Movie Review: Culkin and Eisenberg Excel in ‘A Real Pain’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s part comedy, part tragedy. It’s part road-trip saga, part odd couple-buddy flick, and part Holocaust film. What could possibly have gone wrong?\u003c/p>\n\u003cp>Yup — everything could have gone wrong. So the first miracle about \u003cem>A Real Pain\u003c/em>, writer-director \u003ca href=\"https://www.kqed.org/pop/105694/rediscovering-the-breakfast-club-with-jesse-eisenberg\">Jesse Eisenberg\u003c/a>’s remarkably accomplished film about mismatched cousins on a somber trip through Poland, is how it pulls off the most delicate of balancing acts.\u003c/p>\n\u003cp>That it does so while also asking intriguing questions about the nature of pain — personal vs. universal, historic vs. contemporary — is all the more impressive. So is the fact that it showcases an Oscar-worthy performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That stunning performance comes from \u003ca href=\"https://www.kqed.org/arts/13906871/kieran-culkin-is-having-fun-with-succession-and-he-hopes-you-are-too\">Kieran Culkin\u003c/a>, and what’s striking is that it doesn’t overpower the rest of the ensemble. That’s a testament mostly to the careful way Eisenberg, who co-stars in the less flashy role, has constructed and paced his film. And as for Culkin, well, if you needed proof that his searing, Emmy-winning work as tortured live-wire Roman Roy in \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a> wasn’t a fluke, here you have it.\u003c/p>\n\u003cp>The movie, which is only Eisenberg’s second directorial effort, stems from a trip the \u003ca href=\"https://www.kqed.org/arts/34570/social_network_fact_or_fiction_a_tangled_web\">\u003cem>Social Network\u003c/em>\u003c/a> star took some 20 years ago to Poland. There, he found the tiny house his aunt had lived in before the Holocaust uprooted the family. He wondered what his own life would have been like had World War II never happened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that’s one of the many conversations that David (Eisenberg) and Benji (Culkin) have as they travel through Poland on a mission to visit the house where their grandmother, who has recently died, once lived. (Eisenberg used the exact same house, which tells you just how personal this film was for him.)\u003c/p>\n\u003cp>It’s a poignant but also awkward reunion for the cousins, who were close as youngsters but are on very different paths as 40-something adults. David is the anxiety-ridden but highly functional type that Eisenberg the actor excels at; he works in tech and lives with his wife and young son in Brooklyn. As for Benji, he lives upstate and is largely unmoored, or undeveloped. He’s also a study in contrasts — the type, David notes, who can light up a room when he enters, and then crap on everyone. The death of their grandmother, with whom Benji was close, has taken a toll on his mental health.\u003c/p>\n\u003cp>The cousins first meet up at the airport in New York. Before they even get through security, Benji has terrified David by informing him he’s secured some really good weed for the journey. (Don’t worry, he’s mailed it to the hotel.)\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/b2et8Vpu7Ls'\n title='//www.youtube.com/embed/b2et8Vpu7Ls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Warsaw, they meet their small tour group and British guide James (Will Sharpe, of \u003cem>The White Lotus\u003c/em>), a scholar of wartime Poland. Fellow travelers include Marsha (Jennifer Grey), a divorcee who’s moved from LA back east and is trying to reconnect with her past; a Midwestern couple (Daniel Oreskes and Liza Sadovy); and Eloge (Kurt Egyiawan), a Rwandan-Canadian convert to Judasim who knows something about genocide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In short order, Benji both charms and exasperates the group — and this turbulent brand of charisma is Culkin’s specialty.\u003c/p>\n\u003cp>At a war memorial statue, he runs up to strike a playful action pose, embarrassing David. But somehow, the whole group ends up joining Benji in the childlike stunt, and David is left taking photos.\u003c/p>\n\u003cp>Then when the tour boards a train for Lublin, Benji suddenly explodes in anger at the group — how can they be sitting in first-class comfort when 80 years ago, their ancestors were corralled into cattle cars? He disappears to a lower-class car.\u003c/p>\n\u003cp>And at a visit to a wartime tombstone, Benji admonishes the mild-mannered guide, furiously, for focusing on statistics and not letting the group feel the pure emotion of the moment. (He’s not wrong, as the guide will later acknowledge.)\u003c/p>\n\u003cp>Eisenberg has said that when conceiving of his film, he was struck by a Polish ad that promised “Holocaust tours (with lunch.)” All these moments feel quite real; such tours are indeed filled with awkward (and rather inevitable) juxtapositions of modern tourist comforts and historical horrors.\u003c/p>\n\u003cp>Speaking of horrors, by far the most difficult scenes come when the group visits Majdanek, the Nazi camp. There, they walk past unspeakable sights of gas chambers and ovens and piles of abandoned shoes. One might at first gasp that Eisenberg is leading us here at all; wisely, he keeps these moments silent. When Benji breaks down, it’s on the way home — an acknowledgment that such reactions often come later.\u003c/p>\n\u003cp>At the end, with the cousins hugging goodbye uneasily in the same airport where we began, having completed a journey both physical and personal, it’s hard not to think back to the title of the movie. Yes, Benji is “a real pain.” But there are layers of pain at play here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is David’s very real pain, an anxiety that forces him to take pills each day. There’s Benji’s pain, which not long ago has sent him into a very dangerous tailspin.\u003c/p>\n\u003cp>But, Eisenberg seems to be asking, how “valid” are these types of pain set against the historic pain that the film explores in Poland — a place where, as his camera shows empty streets where life once teemed, an entire people was erased by the Nazis?\u003c/p>\n\u003cp>It’s quite a journey for one film. All credit to Eisenberg, and his superb co-star, for making the road trip so thought-provoking.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Real Pain’ is released in Bay Area theaters on Nov. 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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